S-g-m-D-n-S
Taking the shape of ‘Malkauns shuddha Dha’ (or ‘Harikauns shuddha ma’), Sundarkauns’ swara set has, as per Tanarang, been unjustly sidelined by previous generations as a ‘Bageshri-ang Chandrakauns’ (“A misnomer…this raag has [neither] a shuddha Ni indicating Chandrakauns, nor [an] avroh like Bageshri…[so] it couldn’t gain much popularity”). He describes his revival of this intriguing audav form as “straightforward…it can be expanded freely in all three octaves”. The m–D–S Major triad is highlighted via nyas.
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• Hindustani Raga Index •
—Abhijith Shenoy ‘Abhirang’ (2020)—
[bandish, e.g. 3:23] S, (n)dnS, Sg, gm, m(ndn) dmP, (P)Gm, Gm\S…
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Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):
Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+
Sapta: Audav | Shadav | Sampurna
Poorvang: SRGM | SRG | SRM | SGM
Uttarang: PDNS | PDS | PNS | DNS
Varjit: Re | Ga | Ma | Pa | Dha | Ni
Double: rR | gG | mM | dD | nN
Thaat: 10 | 32 | Enclosed | Inexact
Chal: All-shuddha | All-komal | Ma-tivra
Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row
Symmetries: Mirror | Rotation | Palindr.
Aroha: Audav | Shadav | Sampurna
Avroh: Audav | Shadav | Sampurna
Jati: Equal | Balanced | Av.+1 | Av.+2
Samay: Morning | Aftern. | Eve. | Night
Murchana: Bhup. | Bihag | Bilaw. | Charu.
Raganga: Bhairav | Malhar | Kan. | Todi
Construction: Jod | Mishra | Oddball
Origin: Ancient | Carnatic | Modern
Dominance: Poorvang | Uttarang
Prevalence: A-list | Prachalit | Aprach.
–Swara Geometries–
• Core form: S-g-m-D-n-S
• Reverse: SRgPDS (=Shivranjani)
• Inverse: Ni; SRgmPdDS (=none)
• Imperfect: 2 (Sa, Dha)
• Detached: 1 (Dha)
• Symmetries: none
• Murchanas: none
–Global Translations–
• Carnatic: Shivashakti
S-G2-M1-D2-N2-S
• Jazz: Dorian (no 2nd/5th)
1-b3-4-6-b7-8
• Pitch classes (‘fret-jumps’):
0-3-5-9-10-0
(3–2–4–1–2)
o • • o • o • • • o o • o
• Tanpura: Sa–ma
• Names: Sundarkauns, Sundarkausi, Sunderkauns, ‘Audav Bageshri‘, ‘Purana Chandrakauns‘
—Sadhana Shiledar (2020)—