Editorial Music & Art Reflections Musings Guest Column Women Health Women & Society Humour Short Story Poetry Prev Issue Next Issue

Raga Kafi Kanada

The Kanada and Kafi angas are natural allies. In Kafi Kanada the two are united in several innovative ways. By way of an illustrative example, let us isolate the strands that go into Jha-sahab's synthesis. Please bear in mind the special nature of the rishab in Kafi.

<-- Jagannathbuwa Purohit "Gunidas" (d. 1968)

R R S n S (M)g R...Kafi;
(M)g (M)g M (S)R, S...Kanada;
M P D N S" D n S" R S"...Kafi;
(P)n P, nnPMP (M)g M...Kanada;
M P D g R...Kafi and so on.

Jha-sahab's old AIR recording of his arresting composition: hama hAri hAri piyA tose -

http://www.sawf.org/audio/kanada/jha_kafik.ram

Ghulam Hassan Shaggan -

http://www.sawf.org/audio/kanada/shaggan_kafik.ram

         Burji Khan (1890-1950), son of Alladiya Khan -->

Gajananrao Joshi was the son of Anant Manohar Joshi, a disciple of Balkrishnabuwa Ichalkaranjikar. Gajananrao was unusually gifted, had exceptional exposure, and apart from his father, sought training from a variety of leading lights of Agra, Atrauli-Jaipur and Gwalior (Vilayat Hussain Khan, Manji and Burji Khan, Gunidas etc). He was proficient both as a singer and as a violinist and has left behind a large number of pupils in Maharashtra. Here he exercises his vocal chords -

http://www.sawf.org/audio/kanada/gjoshi_kafik.ram

The composition, lA'i re mada piyA, is celebrated by both the Agra and Atrauli-Jaipur people. Mansur's rendition is a breathtaking spectacle, the dhaivat is rendered alpa in this version -

http://www.sawf.org/audio/kanada/mansur_kafik.ram

<-- Ramkrishnabuwa Vaze (1871-1945)

Biswajit Roy Chowdhury plays the same composition on the sarod -

http://www.sawf.org/audio/kanada/brc_kafik.ram

Yet another stab at lA`i re mad piyA, this time by the Khan brothers, Mohamad Sayeed and Mohamad Rasheed -

http://www.sawf.org/audio/kanada/khanbros_kafik.ram

Ramkrishnabuwa Vaze's degage' style works up magic -

http://www.sawf.org/audio/kanada/vazebuwa_kafik.ram

Amir Khan, solid as always -

http://www.sawf.org/audio/kanada/amirkhan_kafik.ram

Raga Kaushi Kanada

Among the most popular Kanada prakArs in recent times, it comes in two types, the Malkauns-anga and the Bageshree-anga. Since the former overwhelmingly dominates the performance circuit it is the only version treated here. Furthermore, the Bageshree-anga Kaushi Kanada has been largely subsumed by (to be treated soon) Bageshree Kanada. The chief ploy in Kaushi Kanada is to persuade Malkauns to accomodate the Kanada kernel within its framework. The rAga thus formulated assume a vakra build and the meld requires considerable forethought and skill. One possible construction is outlined below:

S, (n')d' n' S, (S)n g S ...Malkauns;
d' n' R, R S R (R)g R S...Darbari;
d' n' S M, (M)g M, (S)R, S...Malkauns and Kanada;
g M d n S", (n)d, n (M)P M...Malkauns and Kanada;

It must be recognized that in sankeerNa rAgas there are almost always some phrases that belong to no one constituent rAga, and which are used to bridge two (sometimes disparate) angas.

The following composition of Ramrang is suffused with great beauty:

tuma dAtA deena ke tuma nAtha anAthana ke
dukha bhanjana jana ke pAlakA

anagina nAma roopa bhuvana anekAna ke bhoopa
`rAmrang' sura-muni nAyakA

http://www.sawf.org/audio/kanada/jha_kaushik.ram

A delectable cheez from the mind of the late Chidanand Nagarkar. His friend and guru-bhai, K.G. Ginde, supplies the voice: nainA bhare -

http://www.sawf.org/audio/kanada/ginde_kaushik.ram

Agrawale Vilayat Hussain Khan retails his own composition stamped with his mudrA "Pranpiya" -

        Basavraj Rajguru (1920-1991) -->

http://www.sawf.org/audio/kanada/vhk_kaushik.ram

The medley in this section illustrates how different minds grapple with with the issue of marrying two rAgas. A traditional Khayal bandish by Basavraj Rajguru addressed to Sri Rama discloses another formulation: rAjan ke -

http://www.sawf.org/audio/kanada/rajguru_kaushik.ram

Two instrumental selections follow. The first is a collector's item, a snatch of Bundu Khan's Sarangi. Some may argue that this treatment aligns more towards Sampoorna Malkauns (a rAga closely allied to Kaushi Kanada) -

http://www.sawf.org/audio/kanada/bundukhan_kaushik.ram

The Maihar statement by Ravi Shankar -

http://www.sawf.org/audio/kanada/rs_kaushik.ram

A markedly different type of Kaushi Kanada from the redoubtable Mallikarjun Mansur. The dhaivat is rendered alpa, the Malkauns elements are pruned (to about n S M only). A Megh-inspired movement (S M R P M n P S" R" S") defines the mukhDA. It is an 'Ahmedpiya' composition: Ali ri jA'i kaho una bina nAhiN chaina -

http://www.sawf.org/audio/kanada/mansur_kaushik.ram

Raga Gunji Kanada

This prakAr is popular with the Gwalior musicians and comes in two primary versions distinguished by the type of dhaivat employed. The main idea here is the use of the Malgunji phrase R n' S R G, G M. The rest of the story is predictably kAnaDA. Ravi Shankar's claim that he has created this rAga has no basis in fact. .

Ramrang's Gunji Kanada recruits the shuddha dhaivat. He elucidates the rAga and then offers a traditional composition: Ayi basant bahAr -

http://www.sawf.org/audio/kanada/jha_gunjik.ram

<-- Acharya Vishnu Digambar Paluskar (1872-1931)

From the Vishnupur Gharana of Bengal comes the komal dhaivat laden Gunji Kanada in the person of Sukhendu Goswami, a disciple of Girija Shankar Chakravorty -

http://www.sawf.org/audio/kanada/goswami_gunjik.ram

The final Gunji Kanada is by Mr. Jasraj of the Viagra Gharana, a renowned expert in condom mechanics -

http://www.sawf.org/audio/kanada/banditji_gunjik.ram

Vishnu Digambar Paluskar's conception of Gunji Kanada carries both the dhaivats. His student Shankarrao Vyas has published a couple of compositions of this version. One may note, en passant, that Ravi Shankar was wetting his nappies at around the time Vishnu Digambar was musically active.

Raga Bageshree Kanada

No surprises here, the name says it all. Jha-sahab walks us through the terrain, peppering the development with pertinent remarks. Care must be exercised to not step on Shahana's toes -

http://www.sawf.org/audio/kanada/jha_bageshreek.ram

Another posture in Bageshree Kanada, by Amir Khan -

http://www.sawf.org/audio/kanada/amirkhan_bageshreek.ram

Raga Bahar

Bahar is a Kanada prakAr but has set up shop by establishing its own Raganga. It is also highly promiscuous and has been found in flagrante delicto with several other rAgas.

The chief features of Bahar are apprehended in the following:

S M , M P (M)g M, (P)n P M P (M)g M n D N S" (P)n P, n P M P (M)g M, (S)R S

As can be seen, strands of Bageshree and Kanada are co-opted and spliced in novel fashion to create an independent identity. The komal nishAd dominates, the shuddha nishAd is used only in prayogas of the type:

M n D N S"; D N S" R" N S"; N S" R" S" n D

The highly popular Bahar is rich in compositions in all genres. Lata Mangeshkar's number in CHHAYA, composed by Salil Chowdhary is a standout: chhama chhama nAchata Ayi bahAr -

http://www.sawf.org/audio/kanada/lata_chham.ram

Movie: SHABAB, Music: Naushad, Voice: Lata and Mohammad Rafi -

http://www.sawf.org/audio/kanada/rafilata_manki.ram

D.V. Paluskar, in the well-known kaisi nikasi chANdni -

            D.V. Paluskar (1921-1955) -->

http://www.sawf.org/audio/kanada/paluskar_bahar.ram

Sawai Gandharva hauls an old chestnut: kaliyana sanga karatA rangraliyAN -

http://www.sawf.org/audio/kanada/sawai_bahar.ram

Abhogi Kanada

This Karnataka import into the Hindustani stream has found wide acceptance. Abhogi Kanada is perhaps the only auDav-jAti Kanada prakAr, and has the following set of swaras: S R g M D. It is immediately obvious that the uttarAnga based Kanada signature - (P)n-->P - has no place here. The prime mover for Kanadic affiliation here is the komal gandhAr, in two modes, viz., (M)g M R S and/or the Darbaric R (R)g. The sanchAris S R D' S and D' S R g are recurrent. Some few make a distinction between Abhogi and Abhogi Kanada by de-emphasizing the Kanada presence in the former.

<-- Sawai Gandharva (1875-1952)

Ramrang's surajhata nAhiN mana -

http://www.sawf.org/audio/kanada/jha_abhogik.ram

Gangubai Hangal -

http://www.sawf.org/audio/kanada/gangubai_abhogik.ram

Amir Khan in lAja rakha leeje mori -

http://www.sawf.org/audio/kanada/amirkhan_abhogik.ram

Abdul Karim Khan's vintage rendition: banarA rangilA -

http://www.sawf.org/audio/kanada/akk_abhogik.ram

Nissar Hussain Khan of Rampur-Sahaswan -

http://www.sawf.org/audio/kanada/nhk_abhogik.ram

Nazakat and Salamat Ali Khan's recording is, in my considered opinion, the best there is in this rAga -

http://www.sawf.org/audio/kanada/nazsal_abhogik.ram

Raga Hussaini Kanada

Hussaini straddles the fence dividing Shahana and Raisa. The peculiar shuddha dhaivat-laden phrase in the mandra saptaka represents the Hussaini tag. Jha-sahab first enunciates the swaroopa and then secures a composition -

            Bade Gulam Ali Khan (1903-1968) -->

http://www.sawf.org/audio/kanada/jha_hussainik.ram

Essentially the same interpretation as the above is echoed by Sharafat Hussain Khan of Agra-Atrauli -

http://www.sawf.org/audio/kanada/shk_hussainik.ram

Mohammad Hussain Sarahang, student of Patiala's Ashiq Ali Khan, was a marvellous musician. His Hussaini contains the shuddha dhaivat elements outlined earlier by Ramrang, but the brush now and then with Shahana may raise some eyebrows -

http://www.sawf.org/audio/kanada/sarahang_hussainik.ram

The final item in the Hussaini folder. The reader is encouraged to flesh out the points of departure from the earlier versions. Omkarnath Thakur immerses himself in the Kabeer bhajan: re dina kaise kaTe haiN -

http://www.sawf.org/audio/kanada/ot_hussainik.ram

Raga Mudriki Kanada

This is an uncommon Kanada variety on which there are differing opinions. A couple of viewpoints are adduced. The first, by Ramrang, introduces a shuddha dhaivat into the Adana stream. He holds forth in some detail and then dispenses a composition -

http://www.sawf.org/audio/kanada/jha_mudrikik.ram

The Agra-Atrauli edition comes in a different flavour. There is only the shuddha dhaivat and a recurring phrase R M R P. Sharafat Hussain Khan: mangala gA'o tuma Aja Anand dina mubArak -

http://www.sawf.org/audio/kanada/shk_mudrikik.ram

Raga Nagadhwani Kanada

The name "Nagadhwani" is found in ancient musical texts, including (if I correctly recall) the Sangeeta Ratnakara of Sarangdeva. The Raga swaroopa in practice today is almost certainly not as old but old enough for it to be regarded as "traditional." Nagadhwani Kanada is rarely heard nowadays and no consensus prevails as to its precise nature.

<-- Manji Khan (1888-1937), son of Alladiya Khan, guru of Mallikarjun Mansur

Ramrang received his Nagadhwani from his guru Bholanath Bhatt. It stands apart from all the other Kanadas. The discussion following his bandish dwells on the rAga lakshaNAs -

http://www.sawf.org/audio/kanada/jha_nagadhwanik.ram

A different Nagadhwani is peddled by Banditji. The plot here centres around a peculiar prayoga of the shuddha dhaivat. A charming composition this: hamko bisAra kahAN chali, salone saiyyAN -

http://www.sawf.org/audio/kanada/banditji_nagadhwanik.ram

Raga Basanti Kanada

This hybrid of rAgas Basant and Kanada is primarily an Atrauli-Jaipur preserve and the only one in this assemblage to use the teevra madhyam (from the Basant strand). The Basant contribution is restricted to the poorvAnga via the movement G, mDmGmGrS. Mallikarjun Mansur: te mana harana -

http://www.sawf.org/audio/kanada/mansur_basantik.ram

Raga Rageshree Kanada

Not much to be said for this one. Rahimuddin Khan Dagar lingers mostly in Rageshree space and advances the komal gandhAr for the Kanada effect -

http://www.sawf.org/audio/kanada/dagar_rageshreek.ram

Raga Lachari Kanada

The candidate for the cachet of "RARE RAGA," granting liberal bragging rights to those whose acquaintance it deigns to make. There is the Gunji Kanada-like S R G, M but the uttarAnga shows no trace of dhaivat. Therefore, RARE!

Latafat Hussain Khan -

http://www.sawf.org/audio/kanada/lhk_lacharik.ram

With this, we rein in our Kanada blimp. Several other Kanada prakArs have given the dragnet a slip for now: Gara Kanada, Sorathi Kanada, Bamsa Kanada, Jayant Kanada, Khambavati Kanada and so on. If you are still with me and counting, from the blimp have alighted exactly 108 clips. On that auspicious note, Au Revoir.

Acknowledgements:

My deep thanks to Ashok Ambardar, V.N. Muthukumar, Ajay Nerurkar and Shubha Mudgal. Romesh Aeri generously granted access to his huge library of unpublished Hindustani holdings. A couple of India-based collectors, lurkers on rec.music.indian.classical (RMIC) and who prefer to remain anonymous, volunteered the keys to their vaults as well. Anita Thakur's assistance has been critical to all aspects of this ongoing effort.

Addendum:

A couple of highly prized non-commercial recordings of Kesarbai Kerkar could not be accomodated in the voyage just concluded. That the subject of this happenstance is Kesarbai is apposite, for she did not see herself as an ordinary mortal in consort with the plebeian.

In this Kafi Kanada clip Kesarbai sings a composition she learnt from Alladiya Khan, sukha kara Ayi piyA sanga. The Kafi anga dominates here, the Kanada anga is subtle and plays second fiddle. Notice the clear enunciation of the shuddha dhaivat. The reader is encouraged to contrast this interpretation with the other Atrauli-Jaipur rendition by Mallikarjun Mansur of the other bandish, lA'i re mada piyA, reported in the Kafi Kanada section.

The great Kesarbai Kerkar: sukha kara Ayi -

http://www.sawf.org/audio/kanada/kesarbai_kafik.ram

Raga Kaushi Kanada in Kesarbai's hands is a feast fit for the gods notwithstanding the less-than-stellar quality of the audio. A prized excerpt of an unpublished mehfil is offered here. Again, recall Mansur's rendering of the same composition in the Kaushi Kanada section.

Kesarbai: Ali ri jA -

http://www.sawf.org/audio/kanada/kesarbai_kaushik.ram

I am sometimes asked for an explanation of the term "Raganga." The word is a sandhi of rAga+anga. It denotes a collection of tonal phrases and gestures that have been abstracted from a 'parent' rAga. For the most part the parent is drawn from the 'basic' rAgas but it need not always be so. The Raganga has a life of its own and is seen in full flower under the auspices of its parent rAga. The Raganga content provides seed material for derivates of the parent or to other unrelated melodic situations. The Raganga may thus be considered a summary, a generalization of melodic 'observations,' analogous to a theory or a law in science, which may then be brought to bear on specific configurations.

The "Raganga Raga" is, as should be apparent by now, the supplier parent. It furnishes the building blocks for the Raganga and hence best embodies it. For instance, Raga Bhairav is the Raganga Raga of the Bhairav anga. In this case Bhairav is a major rAga representing a thAT as well. An example of a Raganga Raga that does not represent a thAT is Sarang.

Glossary

Start a discussion on this article

1

2

3