Raag Jeet Kalyan & Chander Kanth-Indian Music Theory
Raag Jeet Kalyan is sung in two styles. According to one school of thought it is sung in Marwa Thaat whereas this Raag is also performed in Kalyan thaat, but according to both styles it is Awodo Raag (5 notes), Ma and Ne notes are not played in this Raag.
This main difference in both styles is that Re (D) note is black if it is sung in Marwa thaat but remian while if the performer is singing it in Kalyan Thaat.
Pa is wadi note in this raag and Re is Sumwadi. Infact in India, this Raag is sung in Kalyan thaat, but according to the author of Laksh Sangeet, it is appropriate to sing this raag in marwa thaat. By doing this the raag will be seperated from Deskar and Bhopali.
The chaal of jeet kalyan is as follows:
sa-ga-pa-re-sa, sa-re-sa, sa-ga-pa, pa-pa-dha-ga-pa-dha-pa-re-sa-re-sa, sa-re-sa-dha-sa-re-sa-ga-pa-pa-dha-pa-re-sa, sa-sa-ga-pa-ga-pa-pa-dha-pa-re-sa-ga-pa-pa-ga-pa-pa-sa-re-sa, pa-sa-ga-pa-sa-pa-dha-ga-pa-dha-pa-re-sa
Raag Chander Kanth:
Raag chander kanth is the khado (6 notes) sampuran raag of kalyan thaat.
Ma is virgit (not allowed) in it’s Arohi while Amrohi is sampuran which means that all notes are played in it’s Amrohi.
Wadi note of this raag is ga and the time to sing this note is evening. More stress is given on purwang notes. The same principle applies for Aiman Kalyan and sud kalyan therefore it is hard to make it look separate from them.
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