The Kanada Constellation - Part TWO
Rajan P. Parrikar
Raga Devsakh
============
An old rAga. There are the four traditional "sAkhs" - Devsakh,
Ramsakh, Bhavsakh and Lacchasakh. Of these the last named is a
bilAwal prakAr, the rest are kAnaDAs. Bhavsakh is dual anga, the
second being bilAwal. All the sAkhs are nearly extinct, only
Devsakh is occasionally heard. Jha-sahab has documented in his
volumes traditional dhrupads in all the sAkhs as received from
his guru. These dhrupads are like fossil records of the original
rAga chAritra.
The sangati g-P (G-P in Lacchasakh) is the key lakshaNA of the
sAkh family.
In Devsakh the dhaivat is varjya. The sArang-anga alongside
kAnaDA is visible, as Jha-sahab explains before sketching his
bandish: "panaghAta roke mero gail" -
http://www.parrikar.prohosting.com/kanada/jha_devsakh.ram
A composition of S.N. Ratanjankar, delivered by his disciple,
K.G. Ginde: "nanadiyA mori jAge" -
http://www.parrikar.prohosting.com/kanada/ginde_devsakh.ram
While the sArang-anga is visible in this Atrauli-Jaipur Devsakh
there is no g-P sangati. It is left to the reader to figure out
the features of this version. The composition, shared with the
Agra folks, is: "haNs karana duvA dalana" -
http://www.parrikar.prohosting.com/kanada/mansur_devsakh.ram
Raga Bhavsakh
=============
The version adduced by Ramrang contains both the dhaivats, with
following chalan:
S M, M P (M)g (M)g P M, (P)n P D n R" S", (n)d n P
The swaroopa will be clear from his bandish. Some of these
kAnaDAs were taped despite Jha-sahab’s severely fatigued state -
mangala moorata puta pavana ke
sankaTa shamana dukha dAridra davana ke
dAtA ashTa siddhi nava nidhi ke
‘rAmrang’ sakala vimochana vipati ke
http://www.parrikar.prohosting.com/kanada/jha_bhavsakh.ram
Another type of shuddha dhaivat-only Bhavsakh comes to us
from the Agra musicians. The D is taken in in an avarohAtmak
prayoga - M P D, D P - as will be evident from this clip of
Khurjawale Aslam Hussain Khan -
http://www.parrikar.prohosting.com/kanada/aslamhk_bhavsakh.ram
Raga Ramsakh
============
Ramsakh today lies moribund. It takes in two gandhArs, two
nishAds and the shuddha dhaivat. There are strains of both
Bilawal and Shahana. The bandish is:
Aja kunjana meN rAsa rachyo Hari braja yuvati sanga
saba gopiyana ke sanga birAjata
‘rAmrang’ nirakhi mukha lAje ananga
http://www.parrikar.prohosting.com/kanada/jha_ramsakh.ram
Kafi Kanada
===========
The kAfi anga is a natural ally of kAnaDA. In Kafi Kanada
the two are united in several innovative ways. By way of an
illustrative example, we take apart Jha-sahab’s synthesis.
Recall the special nature of the kAfi rishab:
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.
A recording from an old AIR concert of his beautiful
composition: "hama hAri hAri piyA tose" -
http://www.parrikar.prohosting.com/kanada/jha_kafik.ram
Ghulam Hassan Shaggan of Gwalior -
http://www.parrikar.prohosting.com/kanada/shaggan_kafik.ram
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 in vocal and
violin music and he influenced a large number of students
in Maharashtra. Here, he exercises his vocal chords -
http://www.parrikar.prohosting.com/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.parrikar.prohosting.com/kanada/mansur_kafik.ram
Biswajit Roy Chowdhury plays the same composition on the sarod -
http://www.parrikar.prohosting.com/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.parrikar.prohosting.com/kanada/khanbros_kafik.ram
Ramkrishnabuwa Vaze’s degage’ style works up magic -
http://www.parrikar.prohosting.com/kanada/vazebuwa_kafik.ram
Amir Khan, solid as always -
http://www.parrikar.prohosting.com/kanada/amirkhan_kafik.ram
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. Besides, the
bAgeshree anga Kaushi Kanada has largely been subsumed
by (to be treated soon) Bageshree Kanada.
The chief ploy in Kaushi Kanada is to persuade Malkauns to
accomodate kAnaDA elements in its framework. The rAga
is non-trivial and the meld requires considerable thought
and skill. One possible formulation is:
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...both mAlkauns and kAnaDA;
g M d n S", (n)d, n (M)P M...both mAlkauns and kAnaDA; and so on.
It must be recognized that in sankeerNa rAgas there are
almost always some phrases that belong to no one component
rAga, 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.parrikar.prohosting.com/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.parrikar.prohosting.com/kanada/ginde_kaushik.ram
Agrawale Vilayat Hussain Khan retails his own composition
stamped with his mudrA "prANpiyA" -
http://www.parrikar.prohosting.com/kanada/vhk_kaushik.ram
The medley in this section is didactical on how different
minds grapple with with the issue of marrying two rAgas.
A traditional kHayAl from Basavraj Rajguru addressed to
Sri Rama discloses another formulation: "rAjan ke" -
http://www.parrikar.prohosting.com/kanada/rajguru_kaushik.ram
Two instrumental selections follow. The first is a collector’s
item, a snatch of Bundu Khan’s sArangi -
http://www.parrikar.prohosting.com/kanada/bundukhan_kaushik.ram
And now, the Maihar statement by Ravi Shankar -
http://www.parrikar.prohosting.com/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-like 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.parrikar.prohosting.com/kanada/mansur_kaushik.ram
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 claims that he has created this rAga.
I say, no, he has not.
Ramrang’s Gunji Kanada recruits the shuddha dhaivat. He
elucidates the rAga and then offers a traditional composition:
"Ayi basant bahAr" -
http://www.parrikar.prohosting.com/kanada/jha_gunjik.ram
From the Vishnupur gharAnA of Bengal comes a komal dhaivat
laden Gunji Kanada in the person of Sukhendu Goswami, a
disciple of Girija Shankar Chakravorty -
http://www.parrikar.prohosting.com/kanada/goswami_gunjik.ram
The final Gunji Kanada is by Mr. Jasraj, allegedly an expert
in condom mechanics -
http://www.parrikar.prohosting.com/kanada/banditji_gunjik.ram
Vishnu Digambar Paluskar had conceived this with both the
dhaivats. His student Shankarrao Vyas has a couple of
compositions in it. One may note that Shri 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.parrikar.prohosting.com/kanada/jha_bageshreek.ram
Another posture of Bageshree Kanada, by Amir Khan -
http://www.parrikar.prohosting.com/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 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
special sanchAris of the type:
M n D N S"; D N S" R" N S"; N S" R" S" n D
Myriads of compositions, kHayAls and otherwise, obtain in
Bahar. Lata Mangeshkar’s number in CHHAYA, composed by Salil
Chowdhary is a standout: "chhama chhama nAchata Ayi bahAr" -
http://www.parrikar.prohosting.com/kanada/lata_chham.ram
Movie: SHABAB, Music: Naushad, Voice: Lata and Mohammad Rafi -
http://www.parrikar.prohosting.com/kanada/rafilata_manki.ram
D.V. Paluskar, in the well-known "kaisi nikasi chANdni" -
http://www.parrikar.prohosting.com/kanada/paluskar_bahar.ram
Sawai Gandharva hauls an old chestnut: "kaliyana sanga karatA
rangraliyAN" -
http://www.parrikar.prohosting.com/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
identifier - (P)n P - has no place here. The prime mover for
kAnaDA affiliation 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.
Ramrang’s "surajhata nAhiN mana" -
http://www.parrikar.prohosting.com/kanada/jha_abhogik.ram
Gangbai Hangal -
http://www.parrikar.prohosting.com/kanada/gangubai_abhogik.ram
Amir Khan in "lAja rakha leeje mori" -
http://www.parrikar.prohosting.com/kanada/amirkhan_abhogik.ram
Abdul Karim Khan’s vintage rendition of "banarA rangilA" -
http://www.parrikar.prohosting.com/kanada/akk_abhogik.ram
Nissar Hussain Khan of Rampur-Sahaswan -
http://www.parrikar.prohosting.com/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.parrikar.prohosting.com/kanada/nazsal_abhogik.ram
Raga Hussaini Kanada
====================
Hussaini straddles the fence dividing Shahana and Raisa. The
peculiar shuddha dhavat laden phrase in the mandra saptaka is
the Hussaini tag. Jha-sahab first enunciates the swaroopa
and then secures a composition -
http://www.parrikar.prohosting.com/kanada/jha_hussainik.ram
Essentially the same interpretation as the above is echoed by
Sharafat Hussain Khan of Agra-Atrauli -
http://www.parrikar.prohosting.com/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.parrikar.prohosting.com/kanada/sarahang_hussainik.ram
The final item in the Hussaini folder. The reader is encouraged
to flush out the points of departure from the earlier Hussainis.
Omkarnath Thakur immerses himself in the Kabeer bhajan,
"re dina kaise kaTe haiN" -
http://www.parrikar.prohosting.com/kanada/ot_hussainik.ram
Raga Mudriki Kanada
===================
An uncommon Kanada variety. There are differing versions of
which two are lined up here. The first, by Ramrang, introduces
the shuddha dhaivat into Adana. He holds forth in some detail
and then wields a composition -
http://www.parrikar.prohosting.com/kanada/jha_mudrikik.ram
The Agra-Atrauli edition has a different flavour. There is only
the shuddha dhaivat and a recurring phrase R M R P. Sharafat
Hussain Khan in the Agra bandish: "mangala gA’o tuma Aja Anand
dina mubArak" -
http://www.parrikar.prohosting.com/kanada/shk_mudrikik.ram
Raga Nagadhwani Kanada
======================
The rAga name "nagadhwani" is found in ancient musical texts,
including (if I correctly recall) the "Sangeeta Ratnakara" of
Sarangdeva. The rAga swaroopa is almost certainly not as old.
Nevertheless it is old enough for the rAga to be regarded as
"traditional." Nagadhwani Kanada is rarely heard nowadays
and no consensus on swaroop prevails.
Ramrang received this Nagadhwani from his guru Bholanath Bhatt.
It stands apart from all the other kAnaDAs. The discussion
following his bandish dwells on the rAga swaroopa -
http://www.parrikar.prohosting.com/kanada/jha_nagadhwanik.ram
A different Nagadhwani is peddled by Mr. Jasraj. The plot here
centres around a peculiar prayoga of the shuddha dhaivat.
A charming composition this: "hamko bisAra kahAN chali,
salone saiyyAN" -
http://www.parrikar.prohosting.com/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.parrikar.prohosting.com/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.parrikar.prohosting.com/kanada/dagar_rageshreek.ram
Raga Lachari Kanada
===================
The candidate with which you can shout "RARE RAGA" to boost
your dicksize that extra nanometer. 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.parrikar.prohosting.com/kanada/lhk_lacharik.ram
With this, our Kanada blimp has run out of steam. Several
other traditional 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 -
Warm regards,
r
Arun K. Tangirala
thanks for that comprehensive and elaborative discussion on kAnaDa and
its rAgAngas.
I was wondering why you did not mention Rafi-saab's very famous piece in
Baiju Bawra - "O duniya ke rakhwaale"
Also, I would like to point out an excellent rendering by Shri
Ghantasala (a very famous South Indian playback singer of the
yesteryears) in the movie "jagadEka vIruni katha" in darbAri (kAnaDa)
(please follow this link):
http://tinpan.fortunecity.com/morrison/622/ram/jagadekaveerunikatha13.ram
happy listening.
regards
arun
Rajan P. Parrikar
>
>Shri Rajan,
>
>thanks for that comprehensive and elaborative discussion on kAnaDa and
>its rAgAngas.
>
>I was wondering why you did not mention Rafi-saab's very famous piece in
>Baiju Bawra - "O duniya ke rakhwaale"
In any selection of Darbari Kanada one has to
confront the issue of 'bounding the problem'
given the abundance of material available, both
in the 'light' and classical spheres. You may
recall I did mention that several items could
not make the final cut. In fact, Dr Nerurkar,
who assisted me in the 'light' compilation did
submit "O duniyA ke rakhwAle." I must confess
that I don't much like Mohammad Rafi's maudlin
display in that number.
Warm regards,
r
naniwadekar
< lot of stuff snipped>
> If you are still with me and
> counting, from the blimp have alighted exactly 108 clips.
> On that auspicious note -
>
> Warm regards,
>
> r
>
Hello Rajan :
A big thank you for all the sawf features.
That 108 clips touch is a nice one.
So like a student of Ramrang.
--
- nani (dhananjay naniwadekar)
Sent via Deja.com http://www.deja.com/
Before you buy.
Surinder P. Singh
Rajan P. Parrikar wrote in message <90fea...@drn.newsguy.com>...
>...
>who assisted me in the 'light' compilation did
>submit "O duniyA ke rakhwAle." I must confess
>that I don't much like Mohammad Rafi's maudlin
>display in that number.
Rajan,
Since you gave your opinion on the "O duniya ke ...", I might ask yours, and
others as well, opinion of another Darbari Kanada (or is it just Darbari?)
film song of Lata: "Aapki nazaroN ne samajha, pyar key kaabil mujhey ...".
You mentioned somewhere in the post that Darbari is more mandar, or madhya
saptak Raag, but this song is more in the tAar saptak; what impact does that
have?
Thanks.
-SPS
sanj...@my-deja.com
I guess it all depends on your frame of reference - I personally think
Madan Mohan could have lowered the sur a notch or two on this. As far
as Darbari goes, I didn't even think of this one as a Darbari, as MM
hasn't really "MILKED" it for its "keynotes" but it is actually a
decent fit.
--
Sanjeev Ramabhadran
naniwadekar
sanj...@my-deja.com wrote:
> > film song of Lata: "Aapki nazaroN ne samajha ..."
>
> Madan Mohan could have lowered the sur a notch or two on this.
>
things to come.
> As far
> as Darbari goes, I didn't even think of this one as a Darbari, as MM
> hasn't really "MILKED" it for its "keynotes" but it is actually a
> decent fit.
>
This is not not-darbari. That is about all. But is it a better
fit with one of the many other kanadas mentioned by Rajan ?
Sanjeev, if 108 clips are going to take some time to listen to ,
can you go through (say) 21 clips (another holy number for Hindus)
covering various kanadas and tell us whether some other kanada
fits this song better ?
Lata's better kanada offering is 'haye jiya roye' (Milan - Hansraj
Behl). This song has the intensity you associate with Darbari ,
but I wonder whether it covers Suha territory also.
I may also mention that Dinanath's commercially available CD
of natya-sangeet squeezes in his offering of a Darbari cheez.
One among many magnificent natyageets in Darbari
Kanada : 'rajani-nath haa nabhii ugavala'. Abhisheki used to sing
it very well. Part one of the feature has covered 'mruga-nayana'
by Vasantrao Deshpande, as great a natyageet singer as ever
lived. And more.
As for 108, does anybody know how this figure became a favourite
with early hindus ? 108 is two times two into three times three.
16,000 + 108 is the number of Krishna's wives. I don't know
whether this is a mere coincidence. If not, what followed from what?
Maybe 108 was already a famous number when Vyas Muni wrote
Mahabharat. Anybody ?
--
- nani (dhananjay naniwadekar)
Surinder P. Singh
naniwadekar wrote in message <90knei$joc$1...@nnrp1.deja.com>...
>As for 108, does anybody know how this figure became a favourite
>with early hindus ?
108 = 84 + 24
There are 84 lakh species that souls take birth before human birth. 24 is
number of hours/day. I don't if in ancieant India they counted days in 24
hours, or in 8 pahars.
-SS
ChristianAMR
ChristianAMR
https://www.youtube.com/watch?v=9G5lrL88Q3I
On the other hand the prakar sung by Pt Jha with the shuddh swars in uttrang sounds different but quite nice also .
ChristianAMR
https://www.youtube.com/watch?v=brZAroJUUG0
-----
Gara Kanada - P Ginde - nice layakari w the mukhDa .
https://www.youtube.com/watch?v=4zQCgWLFGmo
ChristianAMR
Sughrai , Suha , Suha Sugharai , Nayaki , Hussaini , Shahana , Mudriki , Kafi K , Bageshri K , Darbari , Adana , Kaunsi K ( 1- Kanada prkrs without dhaivat , 2 - with shu Dha , 3 - w kom dha )
https://www.youtube.com/watch?v=XWlh_wgyqZU