An extremely popular raga belonging to the cluster of Kanadas, its origin is popularly attributed to Miyan Tansen, one of the ‘nine jewels’ of Mogul Emperor Akbar’s court. Its Persian name, referring to ‘darbar’ or royal court, bears the stamp. However, it is believed to be an ancient raga, reinvented by Tansen to suit the innovative traits of Hindustani classical stream which enhanced its regal persona with the help of heavily oscillating key phrases.
Thhaat (parent scale)
Asavari
Jaati:
Sampoorn-Shaadav (7 notes in ascend, omits Dhaivat in descend = 6 notes)
Vaadi:
Rishabh ( R )
Samvaadi:
Pancham (P)
Swaras:
Komal Gandhaar, Dhaivat and Nishaad; rest shuddh swaras
Aaroh (ascent):
n.S RgRS, M P d n S’ (Western Notes: A# C D D# D C F G G# A# C)
Avaroh (descent)
S’ d n P, n P g M R S (Western Notes: C G# A G, A# G D# F D C)
Key phrases:
S, RRS, n.SRS,( d.)n.P., M.P.(d.)n.RS, (g)MRS
Time:
Midnight
The heavily oscillated movement of the key phrases and powerful gamaks makes this raga very somber by nature which flowers in the lower-mid octaves at its best. Due to this, perhaps, very few female singers venture out to sing this raga.
1. Bhatkhande V.N. (1923) ‘Kramik Pustak Malika Vol 4’
2. Ustad Amir Khan Pioneer of Indore Gharana by PanditTejpal Singh
1. Senior Dagar Brothers (alaap, dhrupad)
2. Ustad Amir Khan (vocal)
3. Tejendra Narayan Majumdar (sarod)
4. Ajoy Chakraborty (vocal)
5. Pandit Nikhil Banerjee (sitar)
6. Gangubai Hangal (vocal)
Pandit Budhaditiya Mukherjee presents Raag Darbari Kanada with Soumen Nandy accompanying on tabla.
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