Rāg Chandrakauns

*For a roundup of posts on raga, with a general introduction, see here!*


Zia Mohiuddin Dagar and Zia Fariduddin Dagar.

To follow rāg Shri, another raga I’m just getting to know is Chandrakauns.


Indeed, The raga guide describes it as “a ragini of Malkauns”, sharing flat ga and dha, and stressing ma along with Sa—the 5th degree Pa absent from both melody and drone, and also lacking the 2nd degree Re (though listen to Faiyaz Wasifuddin Dagar below). But in the common variety of modern times, natural Ni (replacing the flat ni of Malkauns) is also pivotal. The third paragraph here lists some variant forms:

Chandrakauns 1

Chandrakauns 2

As ever, I begin with dhrupad and the Dagar lineage. The longue durée of Rahim Fahimuddin Dagar, live in concert, is wondrous (ending with a dhamar praise song from 1.05.00):

And here’s Uday Bhawalkar in duet with Bahauddin Dagar on rudra vina (missing opening and closing sections):

Here the intense depth of Zia Mohiuddin Dagar on rudra vina blends magically with the voice of his brother Zia Fariduddin Dagar (live in Amsterdam, 1985):

In most interpretations of Chandrakauns that I’ve heard, ma sounds like a tonic throughout. But I find the Dagars’ whole long opening section rather different: stressing the semitone from ni to Sa, with excursions up to ga and down to dha, ma is heard only in passing. It is only later that ma begins to compete as a pitch centre, often seeming to serve as a “tonic” from 16.48, and for sustained cadences—so it’s only now that we may have to remind ourselves that we are hearing not Sa but ma, just as in rāg Malkauns. Even after the introduction of a faster, firmer rhythmic pulse revolving around ni–Sa from 46.22, ma remains a subsidiary part of the tonal palette to the end, featuring more strongly in passages from around 50.45 and 53.45.

Faiyaz Wasifuddin Dagar creates a quite distinct effect/affekt—not only is ma important throughout, but he frequently uses natural Re in passing (even descending ma-gha-Re-Sa from 16.06, and again from 42.42 and 53.57). Again he ends with dhamar from 59.22:

Lastly, I always delight in the sitar playing of Nikhil Banerjee:

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