S-R-g-m-P-D-n-S

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Cited by Aarshin Karande as a creation of Hussain Shah, the last Emperor of Jaipur’s Sharqi Dynasty (1458-1505) – who found time for musical innovation amidst the perpetual strains of his violent, invasion-laden reign (also see Jungala). Karande considers Hussaini Kanada to be a blend of Nayaki Kanada and Shuddha Bahar (“this raga uniquely extracts a mood of joyous infatuation, and this bandish focuses on devotion to Lord Krishna”), while Bose describes it as “a pre-midnight raga [with] a flavour of Bahar”, also pointing to Shahana, Darbari, and Mudriki Kanada – and Parrikar casts it as “straddling the fence dividing Shahana and Raisa…[with] a peculiar shuddha Dha-laden phrase denoting the ‘Hussaini’ tag” [this phrase is given in Manjiri Asnare-Kelkar‘s breakdown of Hussaini Todi as mPD, (SnS)nS, m, mPDnS, with a mid-sruti Ni position in the first ornament]. While often described as rare, a wide variety of artists have recorded effective renditions it over the years: notably including vocalists Jasraj, Ramrang, Sarahang, Omkarnath Thakur, Jitendra Abhisheki, & Acharya Jayanta Bose, as well as Sanjoy Bandopadhyay on sitar and Suvir Misra on rudra veena.

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• Raga Megalist (365+) •

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• Hindustani Raga Index •

Aroha: SnRgmP, DnPS

Avroh: SDnPmP, gmRS

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Chalan: signatures e.g. SnRS; gmRS; PmP; DnP; SnSRSDnP; mnP

—Pandit Jasraj (~1990s)—

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[bandish, e.g. 1:11] (P)mP P(DnD)S, n\PP P(mPmn)m\g m, m(nDn)P PP; mPDnSS, S S(nS)D, (nR)S S(RnS)S, P m(Pmgm), mPDnSS…

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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

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

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

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

Symmetries: Mirror | Rotation | Palindr.

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

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

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Kafi thaat, Kafi, Bageshri, Bhimpalasi, Shahana, Desi, Dhanashree, Mudriki Kanada, Raisa Kanada

–Swara Geometries–

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• Core form: S–R–g–m–P–D–n–S

• Reverse: SRgmPDnS (=itself)

• Negative: 2-3-2-2-3 (e.g. Durga)

• Imperfect: 1 (Dha)

• Detached: none

• Symmetries: mirror (S—M)

• Murchanas: Bilawal set

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• Quirks: ‘palindromic‘ (same intervals forwards & backwards) • ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• Carnatic: ~Kharaharapriya

S-R₂-G₂-M₁-P-D₂-N₂-S

• Jazz: Dorian

1-2-b3-4-5-6-b7-8

• Pitch classes (‘fret-jumps’):

0-2-3-5-7-9-10-0

(2–1–2–2–2–1–2)

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o • o o • o • o • o o • o

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• Tanpura: Sa–Pa

• Names: Hussaini Kanada, Hussainee Kannada

—Acharya Jayanta Bose (2022)—