RAG DARBARI KANADA

Darbhari kanada

Sa re Ma...Music releaves -Elevates

Aaraohanam : / Ni – Sa – Ri – Gaa – Ma – Pa –Dha – Ni – Sa/
Aavorahanam : / Sa – Dhaa – Ni – Pa –Ma –Pa – Gaa- Ma – Ri Sa /
Aarohana

Avarohana

A famous Hindusthani Raaga.
And quite popular too.
This raga is complete “Vakra Sampooran Raaga”
This is a ‘Janya’ of “Asaavari ‘ Dhat.
[20th Mela-NaThaBhairavi]

Swara Sthana:
Shadjam, ChathuShruthi, Rishabham, common Gandhara, Shudha Madhyamam, Panchamam, Shudha Daivatham, Kaishiki Nishadam.

There is a storu linked to Tanzen & Akbar : It was the Stalwart,Tanzen who invented the Raaga and he was an expert in it .

Jeeva Swaras: Gandharam & Dhaivatham.

Popular Malayalam Film Songs Composed on the base of this enchanting Raaga:
1. “Aayiram Paadaswarangal Kilungi” [ Nadi –Jesudas, Vayalar & Devarajan]
2. “Raadhika Krishana” [ Mohiniyaatam – Mannura Rajakumaranunni-JayadevaKrithi- Devarajan]
3. “Azhake..” [ Amaram – Jesudas, Chitra –Kaithapram-Raveendran]
4. “Omanathinkal Kidaavo” – [ Ithiri Ppove Chuvanna Poove – S.Janaki-Raveendran]
5. “Shivadan Siva Nadam” [ Mazhavillu – Jesudas, chitara-Sharath]
6. “Ariyathe..” [ Raavabnaprabhu –Jayachandran, Chitra-Vidya saagar]
7. « Jhanak Jhanak » [Famous Hindi song of Md.Rafi]
8. “Dukhame Ninakku”[Pushpanjali –Jesudaas –K.M.Arjunan]
9. “Koothambalthil vacho..” [ Appu –M.G.Shri Kumar-SoundaraRajan]
10. Sathi Leelavathi ..song filming Kamal
11.

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Darbari Kanada is one of the most popular rags in the entire North Indian system of classical music.

A few common songs are “Ghunghat Ke Pat Khol Re Tohe Piya Milenge”, “Jhana Jhanak Tori Baje Payaliaya”, “Mujhe Tumse Kuch Bhi Na Chahiye”, “O Duniya Ke Rakhwale”. This rag is also known as Durbari, or Darbari Kanara and a host of other transliterations. It is said to have been invented by Tansen who sang in the durbar (royal court) of the Emperor Akbar, hence the name Darbari Kanada.

Thank you dear Akbar ji

The vadi / samavadi theory is generally discounted by modern musicologists, but for those who are inclined to follow this, Darbari Kanada has been particularly problematic. Some suggest that Re and Dha are the vadi and samvadi; however, others suggest that it should be Ga and Dha.

Darbari Kanada has some interesting musical characteristics. It is a night time rag. It is said to be sampurna – sampurna, but it must be presented in a vakra (twisted) fashion to distinguish it from related rags such as Jaunpuri, Asawari, or Adana. It is especially important to emphasize the lower register (mandra saptak) and the lower tetrachord (i.e., purvang) to distinguish this rag from Adana.

Darbari Kanada has an interesting approach to its intervals. The minor 3rd (komal Ga) and the minor 6th (komal Dha) are much lower than usually found; this lower than normal flattening is often referred to in Indian music as ati-komal. Therefore, ati-komal Ga is just ever-so-slightly higher than a natural 2nd (shuddha Re) and the ati-komal Dha is just ever so slightly higher than a natural 5th (Pa). It is this extreme alteration of the intervals that helps give Darbari Kanada its distinctive character.

Jati :Sampurna – Sampurna – (general discussion of jati)
Time :Night – That
Asawari: That
Drone -: Sa – Pa –
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The English poet Samuel Taylor Coleridge once said, “What comes from the heart goes to the heart.” Music is an illustration of that circuit in action. Sounds travel fast between hearts.
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Myths & History

Times ago (read: late 15th century), there was this poet called Makrand Pandey who was a priest in Varanasi. One daaaay, his son, Ramtanu, went wandering in the forests. As fate would have it, the legendary musician from Vrindavan, Swami Haridas, also happened to go wandering. Swami Haridas was so impressed with Ramtanu’s imitations of a tiger and an elephant that he took him under his wing.

Miya Tanzen !

Thus, Tansen was ‘born’! From Haridas, Tansen acquired not only his love for dhrupad but also his interest in compositions in the local language. This was the time when the Bhakti tradition was fomenting a shift from Sanskrit to the local idiom (Brajbhas and Hindi), and Tansen’s compositions also highlight this trend. At some point during his apprenticeship, Tansen’s father died, and he returned home, where it is said he used to sing at a local Shiva temple. Eventually, he joined the court of King Ramachandra Baghela of Rewa, where he remained from 1555-1562. It appears that the Mughal emperor Akbar heard of his prowess and sent his emissary Jalaluddin Qurchi to Ramachandra, who had little choice but to acquiesce, and Tansen went to Akbar’s court in 1562.

Legend has it that Akbar asked Tansen to come up with something different for his performance(s); Tansen created the raga ‘Durbari Kanada’, from the Persion word ‘Durbar’ for ‘Court’.

2.Tansen, the legendary musician was born in Gwalior in 1506. It was only after the age of 5 that Tansen showed any musical talent. It was his Guru Hari Dasa who recognised his hidden talents as a musician.

Miya Tanzen - Still a Motivation !

Tansen was one among the nine gems in the court of Emperor Akbar. He was also a poet, who composed many couplets. When Tansen was in the court of Akbar, he started to compose new ragas or melodies based on classical Indian music. He is believed to be the father of Hindustani Music. His ‘Sangeeta Sara’ and ‘Rajmala’ are important documents on music. He popularised the ‘Drupad’ style of music.

He was such a great artist that he became a legend in his own times. His talent was recognised early and it was the ruler of Gwalior who conferred upon the maestro the honorific title ‘Tansen’.

Miya Tanzen !!

He died in 1589, and was buried according to his wishes near the grave of his mentor, Ghaus.

A national music festival known as ‘Tansen Sangeet Sammelan’ is held every year in December, near the tomb of Tansen at Behat as a mark of respect to his memory.

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A ragamalika rendered by Madurai T.N Seshagopalan had one of its ragas as Durbari Kanada, and it will remain etched in memory for decades to come.

Durbari Kanada is usually sung after sun-down, although nobody follows it that strictly. This raga is part of the Asavari Thaat — uses all seven notes, five in the ascent and seven in the descent. Gandhar, Dhaivat and Nishad are komal (flat) and the other notes are shuddha (full).

The ascension of aroha is in the lower and middle octaves. In the aroha, the note Ga (gandhar) komal is used in a weak manner and a slow vibrato (andolan) on this note. The association of the notes Ni and Pa sounds pleasing to the ears. Its Vadi swar is Re and Samvadi is Pa.

Aroha: S R g m P d n S’

Avroha: S’ d n P m P g m R S

For reference, the set of notes in the Asavari thaat is S R g M P d n, and for Darbari, the role of the komal gandhar is crucial. In other words, the jeeva swara is the Gandhara here. Most common usage is ‘G M. R’
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Author: renjiveda

I'm not I

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