S-R-gG-m-P-d-nN-S

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Invented by sitarist Vilayat Khan as a tribute to his father, legendary innovator Enayet Khan (although when the raga first surfaced, circa 1981, he was calling it ‘Vilayat Khani Kanada’ instead…). As per fellow Imdadkhani sitarist-scholar Deepak Raja’s excellent analysis, the raga runs along the lines of “Darbari with the addition of two ‘alien swaras’ in the ascent [shuddha Ga & Ni]…Phrases with the alien swaras are always sandwiched between typical Darbari phrases, and blend into the new melodic entity with a distinctive emotional flavour”. He also details how Darbari’s character “is preserved by keeping the raga firmly anchored in the lower half of the melodic canvas, with very sparing development in the upper tetrachord and higher octave”. Khan’s most prominent recording is laden with long meend, which occasionally render the adjacent ni–Ni positions consecutively. Seemingly unperformed by anyone besides its creator – compare to his other inventions including Madhuvanti, Sanjh Saravali, and Pancham se Pilu, as well as more Kanada ragas. Also listen to other ragas created by 20th-century sitarists, including Parameshwari, Madhyami, Monomanjari, Imratkauns, Tulsikauns, Shiv Manjari, and Ek Prakar ki Kauns.

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राग इनायतखानी कानडा

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—Vilayat Khan (2001)—

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[gat, e.g. 47:43] SR (m)g/m R, n(RnSn) n\d n\d, P, mPn\d, NNS, R(SR) G, (m)g/m R(S), SR (m)g/m RS, R\d(nd) n\d n\d…

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• More •

Histories, melodies, mythologies, etc…

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—Enayet Khan (1894-1938)—

“In Ustad Enayet Khan‘s style, one is stuck by a introspective, devotional undercurrent. He learned from dhrupadiyas Allabande & Zakiruddin Khan, adding a contemplative quality to his own romantic personality. In alap, we discern pleasing khayal-type murkis, and in gat, he added swift sapat taans. He introduced khandarbani gamaks, peshkars, and tihais on the sitar, and on surbahar we notice elongated meend covering an entire octave. No other artist of his time had such depth, mastery, and knowledge, and the ability to organize and systematize the instrumental style…”

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Chandranandan, Hussaini Kauns

Also compare to other members of the Kanada raganga

–Swara Geometries–

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• Core form: S–R–gG–m–P–d–nN–S

• Reverse: SrRGmPdDnS

• Complement: SrMDS

• Imperfect: 2 (Re, Ni)

• Detached: none

• Symmetries: none

• Murchanas: (none found)

–Global Translations–

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• Carnatic: (~Amrithavahini)

S-R₂-G₂-G₃-M₁-P-D₁-N₂-N₃-S

• Jazz: Aeolian (dbl. 3rd/7th)

1-2-b3-3-4-5-b6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-2-3-4-5-7-8-10-11-0

(2–1–1–1–2–1–2–1–1)

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o • o o o o • o o • o o o

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• Tanpura: Sa–Pa (or none)

• Names: Enayetkhani Kanada, Enayet Khani Kannada (originally ‘Vilayat Khani Kanada’)

• Transliterations: Hindi (इनायतखानी कानडा)

—Vilayat Khan (1981)—