• Raag Hussaini Kanada •


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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Aroha: SnRgmP, DnPS
Avroh: SDnPmP, gmRS

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


—Pandit Jasraj (~1990s)—

[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…


• Classifiers •

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

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 | 32Enclosed | Inexact

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

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

Symmetries: Mirror | Rotation | Palindr.

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–

Core form: SRgmPDnS
Reverse: SRgmPDnS (=itself)
Negative: 2-3-2-2-3 (e.g. Durga)
Imperfect: 1 (Dha)
Detached: none
Symmetries: mirror (S—M)
Murchanas: Bilawal set

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


–Global Translations–

Carnatic: ~Kharaharapriya
Jazz: Dorian
Pitch classes (‘fret-jumps’):

o • o o • o • o • o o • o


• Tanpura: Sa–Pa
• Names: Hussaini Kanada, Hussainee Kannada


—Acharya Jayanta Bose (2022)—




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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

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