S-R-g-m-P-D-n-S
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.
• Raga Megalist (365+) •
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• Hindustani Raga Index •
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 | 32 | Enclosed | 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: 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
• Quirks: ‘palindromic‘ (same intervals forwards & backwards) • ‘maximal‘ (swaras are optimally ‘spread out’)
–Global Translations–
• 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)
o • o o • o • o • o o • o
• Tanpura: Sa–Pa
• Names: Hussaini Kanada, Hussainee Kannada
—Acharya Jayanta Bose (2022)—