Darbari Kanada

{{redirect|Darbari|places in Iran|Darbari, Iran (disambiguation){{!}}Darbari, Iran}}

{{Infobox raga

| name = Darbari Kanada

| image_name =

| image_alt =

| thaat = Asavari

| type =

| time = Midnight

| season =

| arohana = S R (M)g, M P (n)d n S'

| avarohana = S' (n)d n P M P (M)g, M R S

| vadi = R

| samavadi = P

| pakad =

| chalan =

| synonym = Durbari

| equivalent =

| similar = {{Unbulleted list|Kaunsi Kanada|Adana}}

}}

Darbari Kanada, or simply Raga Darbari (pronounced darbāri kānada), is a raga in Carnatic music. It is a janya ragam (derived scale) of 20th Melakarta raga Natabhairavi. It is believed to be borrowed into Hindustani classical music by Miyan Tansen, the famous 16th-century composer in the Mughal emperor Akbar's court. It belongs to the Kanada family.It is believed that the Mughal emperor Akbar was very fond of this raaga hence often made Miya Tansen sing this raaga in his court. This is reflected in the name itself; Darbar is the Persian derived word in Hindi meaning "court." As the most familiar raga in the Kanada family, it may sometimes also be called Shuddha Kanada or pure Kanada. It belongs to the Asavari thaat.

{{cite book

| title = Vishnu Narayan Bhatkhande

| author = Hindustani Sangeetha Paddhati (4 volumes, Marathi)

| year = 1909–1932

| publisher = Sangeet Karyalaya (1990 reprint)

| ISBN = 81-85057-35-4}} This book, which establishes the Thaat system, has been widely translated. This raag is called raaga Kaanada in Yakshagana Karnataka state dance. It is also sometimes written as Durbari and Durbarikanada.Raganidhi by P. Subba Rao, Pub. 1964, The Music Academy of Madras

In Hindustani classical music

In Hindustani music, Darbari follows almost its original style of singing from the Carnatic music. It is a grave raga, played deep into the night, considered to be one of the more difficult to master, and with the potential for profound emotional impact.

{{cite web

| title = The Kanada Constellation (Part 1/3)

| author = Rajan P. Parrikar

| publisher = South Asian Women's Forum

| url = http://www.parrikar.org/hindustani/kanada/

| date = 2000-12-11

| access-date = 2007-04-11}}

Darbari is a very serious raga and hence, slow and elaborate meend and andolan are generally more preferred than light and frivolous ornamentations like murki or khatka. The improvisation of Darbari is done more in the mandra saptak, or lower octave. The ascension of arohana is in the lower and middle octaves. In the avarohana the note Ga (gandhar) komal is used in a slow vibrato (andolan) on this note. Similarly, komal Dha is also used by Andolan. The Andolan of komal Ga and komal Dha add to the gravity of the raga. The association of the notes Ni and Pa sounds pleasing. Its Vadi swara is Re and Samavadi is Pa.

arohana: S R (R)g, (R)g M P d n S'

avarohana: S' d n P M P (M)g, (M)g M (S)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, as is dwelling on the lower komal dhaivat for some time. Other ragas in the Kanada family include Abhogi Kanada, Shahana Kanada, and Adana (Adana is part of the Kanada Raga group).

{{Listen

|filename =

|title = Raga Darbari Kanada

|description = Abdul Wahid Khan performs Raga Darbari Kanada in 1947

}}

Important recordings

Amir Khan, Raagaas Maarwa and Darbaari, Odeon LP (long-playing record), ODEON-MOAE 103, later reissued by His Master's Voice as EMI-EALP1253, critically regarded as a benchmark for both Maarwa and Darbaari.
Pt. D. V. Paluskar, Jhanak Jhanakva More Bitchuwa, Golden Milestones, D. V. Paluskar. This is actually closer to raag Adaana than Darbaari.
East Atlanta rapper JID, samples the Darbaari raga on his song 151 Rum (song)

In Carnatic music

It is an ubhaya vakra sampurna rāgam derived from the 20th melakarta rāgam Natabhairavi.Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications It is an extremely melodious raga. It can create extreme and unparalleled emotional impact. It is said to evoke feeling of sadness, longing and romance to listeners. Its ārohaṇa-avarohaṇa structure is as follows (see swaras in Carnatic music for details on the notations used):

Song	Movie	Composer	Singer
class="wikitable"
Aalapanam	Ente Sooryaputhrikku	Illayaraja	K.S. Chitra, K.J. Yesudas, P. Susheela
Ariyathe Ariyathe	Ravanaprabhu	Suresh Peters	K.S. Chitra, P. Jayachandran
Aayiram Padasarangal	Nadi	G. Devarajan	K. J. Yesudas
Azhake	Amaram	rowspan="2"\|Raveendran	rowspan="2"\| K.S. Chitra, K.J. Yesudas
Idayaraaga	Uncle Bun
Dukhame	Pushpanjali	M. K. Arjunan	K. J. Yesudas
Ponnil Kulichu Ninnu	Sallapam	rowspan="2"\|Johnson	K. S. Chitra, K. J. Yesudas
Thoomanjin Nenchilothungi	Samooham	K.J. Yesudas
Sindhoorappoo Manassil	Gamanam	Bichu Thirumala	K. S. Chitra, K. J. Yesudas
Shivadam Shivanamam	Mazhavillu	Mohan Sithara	M.G. Sreekumar, K. S. Chithra
Thamara Noolinal	Mullavalliyum Thenmavum	Ousepachan	G. Venugopal, Gayatri Asokan

Darbari Kanada

In Hindustani classical music

Important recordings

In Carnatic music

Compositions in Carnatic music

Film songs

=Language: Tamil=

=Language: Hindi=

=Language: Malayalam=

=Language: Telugu=

See also

Notes

References

External links