The Story of Chandraveena by S Balachander
S Balachander narrates the musical story of Chandraveena and how it compares with Saraswati Veena by means of Raga Hamsadhwani. He also compares the instruments side-by-side and demonstrates how the design of Chandraveena has enabled his musical style.
The Story of Chandraveena is available on YouTube at
youtu.be/8DYZsreWPf0
If you like the music, learn how you can support Chandraveena music at
www.chandraveena.com/support/ and consider buying this album. We value your patronage.
Program Notes:
1. Raga Alapana in Hamsadhwani on Chandraveena
2. Raga Alapana in Hamsadhwani on Saraswati Veena
3. Side-by-side comparison of Chandraveena and Saraswati Veena
4. Musical consequences of the design changes in Chandraveena
5. Continuation of Raga Alapana in Hamsadhwani on Chandraveena
Raga Alapana in Hamsadhwani
Raga Alapana is an improvisation and a systematic presentation of a Raga. This part has no rhythmic accompaniment. It has three parts - Alap, Jod and Jhala. This format is also known as Ragam and Tanam.
Here are some notes about the Raga.
Raga - Hamsadhwani
Scale - Sa Re Ga Pa Ni
Family - Kalyani (Sa Re Ga Ma Pa Dha Ni)
Melakartha - Sankarabharanam (Sa Re Ga ma Pa Dha Ni)
Prahar - 5th Prahar (6 pm - 9 pm)
Reading the scale
In Indian Classical Music, the seven notes in an octave are called Sa Re Ga Ma Pa Dha Ni and then Sa comes again. Notes with a capitalised first letter are called Tivra (or sharp) notes. E.g., Ga and Ni above. Notes written fully in lower case are called Komal (or flat) notes. There are no Komal or Flat notes in this Raga. Sa and Pa are always written with a capitalized first letter.
Prahar
In Indian Classical Music, Ragas are classified into Prahars (time periods of a day or night) which are said to represent the most appropriate time to perform the Raga.