by Rajan P. Parrikar
First published on SAWF on December 11, 2000
Rajan P. Parrikar (Colorado, 1991)
Namashkar.
The ragas under the “Kanada” rubric are foundational to the Hindustani musical framework. Mastery of the Kanada gestalt is essential for any serious Hindustani practitioner navigating ragaspace. These enchanting melodies of the Kanada constellation form the focus of this investigation.
Let us examine the kernel of raganga Kanada. Throughout this discussion, M denotes the shuddha madhyam. Stripped to its essence, raganga Kanada is defined by two pivotal tonal clusters, one in the poorvanga and the other in the uttaranga. They are:
(M)g (M)g M (S)R, S
and
(P)n–>P
Bridging these phrases with an avarohatmak n nPMPn(M)g or a plain n P (M)g captures the essence of the Kanada raganga. However, the true Kanada bhava emerges only with proper swara-uccharana, incorporating kans, meends, and precise punctuation.
The word “Kanada” is an apabransha (corrupt form) of “karnat.” For a historical account and its presence in the literature, readers may consult Pandit Vishnu Narayan Bhatkhande‘s seminal work Hindustani Sangeet Paddhati. Here, we focus on the structure and contemporary praxis of Kanada ragas.
Bhatkhande enumerates 18 traditional prakars of Kanada. Of these, about 7-8 are considered elemental due to their distinct swaroopa: Darbari, Adana, Suha, Sughrai, Nayaki, Shahana, and Devsakh. Others, such as Basanti Kanada and Gunji Kanada, are hybrids formed by blending multiple ragangas. There are also derivatives that imprint unique swara clusters on the Kanada framework, such as Raisa Kanada and Mudriki Kanada. Some hybrids, including Bageshree Kanada, Kafi Kanada, and Kaushi Kanada, integrate so seamlessly with the Kanada ethos that they merit the status of elemental Kanadas.
To an uninitiated observer, the Kanada constellation may appear bewildering. With the exception of Darbari, whose structure is well-established, other Kanada variants exhibit regional and stylistic diversity. Yet the core Kanada kernel remains unmistakable and consistent across interpretations. The divergence lies primarily in the supporting tonal constructs.
Ramashreya Jha “Ramrang”
© Rajan P. Parrikar
My approach aligns with that of Pandit Ramashreya Jha “Ramrang” in his magnum opus, Abhinava Geetanjali. In this approach, one canonical version is identified as the primary bearer of raga lakshanas, with deviations acknowledged and contextualized. This essay outlines the broad strokes of Kanada ragas; for finer details, the reader is encouraged to consult Ramrang’s writings. His audio illustrations will be referenced in the exploration of the Kanada repertoire.
Raga Darbari Kanada
Legend credits Tansen with reinterpreting the ancient Kanada, giving rise to Darbari as we know it today. Darbari is a monumental raga, unparalleled in gravitas, demanding in its swara-lagav, and profound in its emotional resonance, captivating both novices and connoisseurs.
Darbari, the preeminent Kanada, serves as the flagship of the raganga. Often referred to as Shuddha Kanada, it draws its swara set from the Asavari that: S R g M P d n. The treatment of komal gandhar is pivotal. While much is made of its ati-komal nature, the defining feature is the nuanced swara-uccharana, encompassing kans, volume, and direction of attack. This uniquely handled komal gandhar forms the lifeblood of Darbari.
The arohi gandhar: S R (R)g, (R)g
The avarohi gandhar: (M)g, (M)g M (S)R, S
The rishab serves as the vadi, an important nyasa sthana, while the pancham provides repose. Darbari’s komal dhaivat mirrors the gandhar: approached via pancham in ascent and komal nishad in descent. However, dhaivat is often skipped (langhan) in descent, whereas gandhar remains indispensable.
Kesarbai Kerkar
The Kanadic (P)n–>P movement, characterized by a forceful P–kan to n, followed by a meend back to pancham, is quintessential. The ‘bridge’ nnPMPnMP(M)g resolves back to the shadaj, completing the melodic cycle.
Darbari is a poorvanga-pradhana raga, with most melodic activity concentrated in the lower registers. Taans in Darbari khayals are never linear but employ hammered or vakra patterns, with gamakas introduced as the raga develops.
A sample chalan for Darbari is now proposed:
S, n’SRS (n’)d’, (n`)d’ n’ P`, M’ P’ (P`)d’ (P`)d`, d’ n’ R, S
S R (R)g, (R)g, M P, nP (M)g, (M)g M (S)R, S
M M P, M P (P)d (P)d, (P)n–>P, n nPMPn (M)g, (M)g M R, S
These Darbari lakshanas are frozen in this compendium by Pandit Ramashreya Jha “Ramrang”.
Our Darbarifest opens with a few clips drawn from the ‘light’ arena Pandit Kishore Kumar volleys a traditional cheez with preliminary alap. The composer is Bappi Lahiri, a bong of indeterminate sex.
The Kanadas have a long association with Marathi stage music and among most celebrated Darbari there is this one by Vasantrao Deshpande from the play SAUNSHAYKALLOL: mruganayana rasika mohini.
Kishore Kumar and Satyajit Ray
Mukesh‘s maiden effort was this Darbari-inspired number from PEHLI NAZAR under Anil Biswas‘ baton. The influence of Saigal on Mukesh’s gayaki is obvious: dil jalta hai to jalne do.
The next two are vintage Asha numbers: Film: LEADER, Music by Naushad: daiyya re daiyya.
Film: KAJAL, Music by Ravi: tora mana darpan.
Although Darbari is more suited to the baritone, Lata’s gestures attract our attention. From the movie MUGHAL-E-AZAM, the composer is Naushad.
Film: MERE HUZOOR, Music: Shankar-Jaikishan, Voice: Manna Dey. jhanaka jhanaka.
The classical segment begins with Jha-sahab’s superbly delivered compositions.
‘Aftab-e-Mousiqui’ Faiyyaz Khan was considered among the greatest performers of the 20th C. This 1942 mehfil recording suggests why.
Darbari is enshrined in several traditional dhrupads. The Dagars, N. Moinuddin and N. Aminuddin, reprise one such: sajana bina khelata.
Bade Ghulam Ali Khan‘s servings of Darbari were universally loved. In this unpublished 1954 Calcutta recording, he sings the traditional vilambit, bandhanwa bandho re.
Abdul Wahid Khan
The Kirana pioneer Abdul Waheed Khan was overshadowed by his cousin Abdul Karim Khan, but had a profound influence on 20th C vilambit khayal gayaki.
Amir Khan was born to sing expansive ragas like Darbari. The just-mentioned Abdul Waheed Khan was a key influence in the formation of his musical philosophy. This has got to be among the greatest pieces of recorded music, certainly the mother of all Darbaris.
The magnificent early recordings of Nazakat and Salamat Ali have been present to my imagination for as long as I can remember. I cut my teeth on this Darbari, thanks to my father’s love of it.
Krishnarao Shankar Pandit
The Gwalior stamp from the Darbar-gayak Krishnarao Shankar Pandit: suhagana cholara.
Azmat Hussain Khan of Atrauli was Alladiya Khan’s nephew and a close relation of Agrawale Vilayat Hussain Khan. During his days in Bombay he trained a number of students including Jitendra Abhisheki. This recording is from a 1970s mehfil at the Kala Academy in Panjim, Goa.
Darbari is out and out the vocalist’s fief. To know and to feel it is to hear the great vocal masters. The feeble noises made by the current day dingdongers cut little ice. Nonetheless, two rare instrumental selections are adduced.
Ayet Ali Khan, younger brother of Allauddin Khan, and a master of the surbahar.
Abid Hussain, dhrupadiya and beena player, was a court musician at Baroda. He traced his lineage to the fabled Jaipur gharana paterfamilias “Manrang”.
From the Atrauli-Jaipur catalogue, Mallikarjun Mansur. Mansur’s voice is not a natural fit for this raga but he compensates for it with superb gamaka work.
The Darbari orgy concludes with a druta rendition by Bhimsen Joshi: jhan jhanakawa.
There is a large pool of recordings available in Darbari and the above reflects a rather personal choice.
(L-R) Azmat Hussain Khan, Alladiya Khan, Nathan Khan
Raga Adana
Although Adana is allied to Darbari it jettisons much of the latter’s ponderous baggage. There is no andolita gandhar and much of the meend work required in Darbari is eschewed. In contrast to Darbari, Adana is an uttaranga-pradhana raga, lithe and full of gusto. To conjure an image – think of that svelte leotard-wrapped babe at the aerobics class you’ve been lusting after as Adana, and your wife as Darbari.
In the arohi passages gandhar is dropped, viz., S R M P (n)d, (n)d S”. The Kanada strands are inserted via S”, (n)d n P and g M R S. In faster forays dhaivat is sometimes skipped thus leading to an avirbhava of Sarang. Indeed, some versions of Adana sideline dhaivat altogether.
The value of the Adanic nishad is of considerable interest. Many vidwans consider it to lie between the nominal komal and shuddha nishad (called chadha nishad). This is the viewpoint embraced by Jha-sahab in a brilliant demonstration of the shades of nishad. The shruti-charcha continues well past the bandish in this clip.
Adana and Darbari often commingle in ancillary genres. Shankar-Jaikishan‘s tune in BETI BETE is tilted towards Adana. Voice: Mohammad Rafi: Radhike tune bansari churayi.
Prabhakar Karekar‘s natyageeta from EKACH PYALA: zhani de kara ya.
Composer Vasant Desai‘s tune finds a happy camper in Amir Khan. From JHANAK JHANAK PAYAL BAJE .
Amir Khan
A dhrupad in Sooltala by N. Zahiruddin and N. Faiyazuddin Dagar: Shiva Shiva Shiva Shankara Adideva.
Anjanibai Lolienkar from Goa was trained by Agrawale Vilayat Hussain Khan. Another Shiva-stuti, Damaru Dama Dama baje.
Superstars in their time, the first quarter of the 20th C, the Alia-Fattu duo (Ali Baksh and Fateh Ali) from Patiala is honoured in this bandish composed by “Meherban.” It is rendered here by Fateh Ali’s grandson, the current Fateh Ali: tan-kaptan.
Bade Ghulam Ali‘s extraordinary voice takes flight in Adana. The composition is his own: jaisi kariye waisi bhariye.
A mehfil of Ghulam Hassan Shaggan.
In recent years a whole Spicmacay generation has been weaned on Mr. Jasraj‘s Mata Kalika, composed by Maharana Jayawant Singh.
This completes the Adana section. The Kanada saga continues in Part 2.