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The Kanada Constellation (Part 1/3) Rajan P. Parrikar Rajan P. Parrikar is a recognized expert on Indian Classical music and shares his knowledge freely with those interested in the subject. He has written a series of articles on Classical Indian Music some of which have been archived on Sawf. Click here to read Rajan's earlier articles.

Rajan P. Parrikar (Colorado, 1991)

Namashkar.

All higher human endeavours have at their core a body of knowledge, mastery of which is deemed a sine qua non for participants in the field. Without this requisite mental clothing no serious advance can be expected of the aspirant. In the realm of Hindustanica a deep friendship with the fundamental Ragas and their associated Ragangas is the necessary equipment both the practitioner as well as the cognoscente must carry. And in the pantheon of Raga, the melodic deities that fall under the rubric "Kanada" are acknowledged as vital sustaining blocks of the Hindustani entablature. This Kanada Constellation will be the subject of our current investigation.

Let us first examine the kernel of Raganga Kanada. Throughout this voyage, M denotes the shuddha madhyam. Shorn of bells and whistles Raganga Kanada (pronounced "rAgAnga kAnaDA") may be reduced to two tonal clusters, one each decorating the poorvAnga and uttarAnga regions. They are:

(M)g (M)g M (S)R, S

(P)n-->P

Now, if we furnish a bridge to the above with an avarohAtmak n nPMPN(M)g or a plain n P (M)g we have said essentially everything there is about the Kanada Raganga. There is, however, much to be said for proper swara-ucchAraNa, meeND, and punctuation, without which Kanada would be dead on arrival.

The word "Kanada" is an apabransha (corrupt form) of "karnAT." For a historical account and occurrence of Kanada in the literature the reader is referred to Pandit Vishnu Narayan Bhatkhande's epochal work Hindustani Sangeet Paddhati. Our focus here will be on the au courant Raga structure and observed performance practice.

<-- Ramashreya Jha "Ramrang" in his study in Allahabad

Bhatkhande enumerates 18 traditional prakArs of Kanada. Of these, only about 7-8 are 'basic,' in the sense that they embody an independent swaroopa. They are: Darbari, Adana, Suha, Sughrai, Nayaki, Shahana and Devsakh. The rest are either hybrids spun off by combining elements of one or more rAgas with Raganga Kanada (eg. Basanti Kanada, Gunji Kanada etc.), or, they are realized by imprinting small, specialized swara clusters on the Kanada fabric (eg. Raisa Kanada, Mudriki Kanada etc). A third sub-group appears at first glance to comprise of hybrids, but its members mesh so naturally with the Kanada anga that their aesthetic sensibility and content impel us to accord them the respect given the fundamental Kanada prakArs. These are, namely, Bageshree Kanada, Kafi Kanada and Kaushi Kanada. Incidentally, the plain ol' Bageshree (without the explicit Kanada artifacts) was in the olden times considered a form of Kanada (vide Bhatkhande).

The casual observer of the kAnaDA constellation is often assailed by what appears to be a higgledy-piggledy state of affairs. A general description of the Kanada variants is a hopeless task given their wide variability. With the exception of Darbari, on which near unanimity prevails, the remainder of the Kanadas resist capture into neat one-size-fits-all packages. It must be emphasized, however, that there is no ambiguity apropos of the Kanada kernel itself which is at once recognizable. The divergence in Raga swaroopa obtains from the supporting tonal constructs. Be that as it may, the tack I propose to take is the one adopted by Pandit Ramashreya Jha "Ramrang" in his classic volumes of Abhinava Geetanjali. One version is identified as canonical, the primary carrier of Raga lakshaNAs, and deviations from that norm are suitably accomodated in discussion. I do not intend to submerge myself in the depth and detail, lingering on minutiae, found in Ramrang's treatise. Only the highlights will be illuminated. Ramrang's own audio illustrations of the Raga swaroopa and sketches of his compositions will be adduced ahead of the heap as we run through the Kanada catalogue.

Raga Darbari Kanada

Kesarbai Kerkar of Goa (1892-1977) -->

Darbari is the premier Kanada, the flagship of the Ranganga; indeed a mention of 'Kanada' is by default taken to mean Darbari. Occasionally it also goes by the name Shuddha Kanada. The swara set is supplied by the Asavari thAT: S R g M P d n. The attack on the komal gandhAr is crucial. Much is made of the ati-komal nature of this Darbari gandhAr. However, in Hindustani music, as in most Indian music, a swara is not characterized by a single frequency point. The kaNs imparted, the intonation, its relative placement and attack, all these are critical and go into making the swara what it is. It cannot be overemphasized that the swara is not the same as 'note.' The komal gandhAr in Darbari is ati-komal, to be sure, but the kaNs are far more decisive. There are two approach modes to the komal gandhAr. The Arohi gandhAr receives a kaN of the rishab, the avarohi of the madhyam; in both instances the gandhAr is rendered Andolita. This sui generis komal gandhAr is the lifeblood of Raga Darbari Kanada. In notation we have:

Arohi use of gandhAr: S R (R)g, (R)g

avarohi use of gandhAr: (M)g, (M)g M (S)R, S

The rishab is the vAdi and an vital nyAsa sthAna. The pancham is likewise another important location for repose. The Darbari komal dhaivat is a reflection of the gandhAr in that the Arohi kaN is purchased from the pancham, the avarohi from the komal nishAd. Although there is an important difference - the dhaivat is langhan (skipped) in avarohi prayogas whereas the gandhAr is indispensible:

M P (P)d, (P)d, (P)n-->P

and

S", (n)d n-->P
Observe that the dhaivat lends an austere presence in the mandra saptak; several major Khayal compositions locate the sam there.

The Kanadic (P)n-->P is characterized first by a forceful P-kaN to n and then a meeND back to the pancham. The aforementioned 'bridge' - nnPMPnMP(M)g - delivered with a forceful gamaka puts the ball back into the poorvAnga court and the melodic sequence is resolved all the way back to the shaDaj via (M)g M (S)R, S.

Darbari is a poorvAnga-pradhAna rAga, the mandra and madhya saptakas are the regions of activity. As a final comment, the tAns in Darbari never run the linear gamut (eg. SRgMPdn etc), but are conceived in double and triple hammered combinations (MMM PPP ddd etc) or in other vakra formats. Forceful gamakas are liberally employed once the initial development has warmed up.

A sample chalan for Darbari is now formulated:

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

A compendium of Darbari lakshaNAs is frozen in this instructive clip of Pandit Ramashreya Jha "Ramrang" -

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

<-- Prof. Kishore Kumar (1929-1987)

The Darbarifest opens with a few clips drawn from the 'light' arena. Pandit Kishore Kumar volleys a traditional cheez with preliminary AlApi. The composer is Bappi Lahiri, a bong of indeterminate sex -

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

The Kanadas are firmly ensconced in Marathi stage music and the most celebrated Darbari is by Vasantrao Deshpande, in the play SAUNSHAYKALLOL: mruganayanA rasika mohini -

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

Mukesh's maiden song was this Darbari-based number from PEHLI NAZAR under Anil Biswas' baton. The Saigal influence is palpable: dil jaltA hai to jalne do -

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

The next two are vintage Asha numbers:

Film: LEADER, Music: Naushad -

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

Film: KAJAL, Music: Ravi -

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

Although Darbari is suited to the baritone, Lata's gestures command our attention. From the movie MUGHAL-E-AZAM, the composer is Naushad -

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

Film: MERE HUZOOR, Music: Shankar-Jaikishan, Voice: Manna Dey -

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

The classical segment begins with Jha-sahab's superbly delivered compositions. The first is set to dheemA teentAla, the second to druta ektAla -

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

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

Faiyyaz Khan (1886-1950) -->

'Aftab-e-Mousiqui' Faiyyaz Khan was considered among the greatest performers of the 20th C. This 1942 mehfil recording suggests why -

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

Darbari is enshrined in several traditional dhrupads. The Dagars, N. Moinuddin and N. Aminuddin, reprise one such: sajana bina khelata -

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

Bade Ghulam Ali Khan's spin on Darbari was universally revered. In this unpublished recording of a 1954 Calcutta mehfil, he sings the traditional vilambit kHayAl, bandhanwA bANdho re, a bandish sometimes also dispensed in druta teentAla -

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

<-- Amir Khan (1912-1973)

The Kirana pioneer, Abdul Waheed Khan, although overshadowed by his cousin Abdul Karim Khan, had a profound influence on vilambit Khayal gAyaki -

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

Amir Khan was born to sing rAgas like Darbari. He acknowledged Abdul Waheed Khan's influence in shaping his musical personality. This has got to be among the greatest pieces of recorded music, certainly "the mother of all Darbaris" -

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

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 (literally) on this Darbari, thanks to my father's love of it -

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

Krishnarao Shankar Pandit of Gwalior (1893-1989) -->

The Gwalior stamp from the Darbar-gAyak: Krishnarao Shankar Pandit, in a traditional kHayAl: suhAgana cholarA -

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

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. His proximity to the movers and shakers of the musical firmament of his day had invested in him with an intimate view of diverse styles. The recording presented here is from a 1970s mehfil at the Kala Academy in Panjim, Goa -

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

Darbari is out and out the vocalist's fief. To know and to feel it is to hear the great vocal masters. The noises made by current day dingdongers cut no ice whatsoever. Nonetheless, two rare instrumental selections are adduced.

Ayet Ali Khan, younger brother of Allauddin Khan, was a master of the Surbahar -

<--Govindrao Tembe and Alladiya Khansaheb

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

Abid Hussain, a Dhrupadiya and an outstanding Been player of his time, was a court musician at Baroda. He traced his line to the fabled Jaipur gharAnA paterfamilias "Manrang":

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

The Darbari orgy concludes with a druta rendition by Bhimsen Joshi: jhan jhanakawA -

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

The above selection reflects a rather personal choice. Many excellent items did not make the final cut. And some famous Darbari kHayAls (eg. mubAraka bAdiyAN and Hazrat turkamAna etc) had to sit out.

The discussion from now on will pick up pace; only the most pertinent issued will be remarked upon.

Raga Adana

Adana is allied to Darbari but 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. Adana is an uttarAnga-pradhAna rAga, lithe and full of gusto. Recall that svelte leotard-wrapped babe at your aerobics class you've been lusting after (and while you are at it, think of Darbari as your wife).

Mogubai Kurdikar of Goa (1904-2001) -->

In the Arohi passages the 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 the faster forays the dhaivat is sometimes skipped thus yielding an AvirbhAva of Sarang. Indeed, some versions of Adana exile the dhaivat altogether. The value of the Adanic nishAd is of considerable interest. Many vidwAns consider it to be between the nominal komal and shuddha nishAd. This is also the viewpoint embraced by Jha-sahab, in a telling demonstration of the shades of nishAd. The shruti-charchA continues well past the bandish:

bhavAni dayAni janani gajAnana khaDAnana kee ho
asura mAna mardani

bhAmini mahesh kee kalesha kATanee ho
'rAmrang' tanga haraNi sharaNa siNha vAhani

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

Adana and Darbari often commingle in the `light' theatre. Shankar-Jaikishan's tune in BETI BETE is tilted towards Adana. Voice: Mohammad Rafi, rAdhike tune bansari churAyi -

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

Prabhakar Karekar, in a sprightly Natyageeta from EKACH PYALA: zhaNi de kara yA -

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

Composer Vasant Desai's tune finds a happy camper in Amir Khan. From JHANAK JHANAK PAYAL BAJE -

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

A Dhrupad set in sooltAla by N. Zahiruddin and N. Faiyazuddin Dagar: Shiva Shiva Shiva Shankara Adideva -

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

<-- Vilayat Hussain Khan (1892-1962) with Faiyyaz Khan

Anjanibai Lolienkar from Goa was trained under Agrawale Vilayat Hussain Khan. Another Shiva-stuti, Damaru Dama Dama bAje -

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

Superstars in their time (the first quarter of the 20th C) the Alia-Fattu (Ali Baksh and Fateh Ali) duo from Patiala has been honoured in this bandish composed by "Meherban." It is rendered here by Fateh Ali's grandson, the current Fateh Ali -

tAna kaptAna kahA gayo jagata meN Fateh Ali Khan
tAna balawant ki aisi phirata hai jaise Arjuna-ji ki bAna

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

Bade Ghulam Ali's extraordinary voice takes to Adana like a fish takes to water. This is own composition: jaisi kariye waisi bhariye -

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

In recent times, a whole Spicmacay generation has been weaned on Mr. Jasraj's mAtA kAlikA, a composition of Maharana Jayawant Singh -

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

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