S-R-g-m-P-d-n-S

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Kaunsi Kanada is often oversimplified as a blend of two ragas: ‘Malkauns (or Pancham Malkauns) on the way up, and Darbari on the way down’. But, as ever, the whole is far more than the sum of these parts, with multiple facets of both these ragas interacting with ideas from across the Kanada spectrum. The raga offers labyrinthine moods – described by Senia-Shahjahanpur sarodiya Debasmita Bhattacharya as a sentiment of “heavy introspection, like a man who weeps inside but can never show his tears” (hear her rendition below). Melodic interpretations display considerable variance, particularly when it comes to Pa: some performers omit it in ascent (e.g. Niladri Kumar), while others give it prominence in both directions (e.g. Shivkumar Sharma) – while Ali Akbar Khan described it as “like the moon behind clouds; it comes out for a moment, and then it’s gone”. Similarly, artists may conclude with Darbari’s mgmRS or Malkauns’ gmgS – although many contend that Kaunsi Kanada should take the former, while that latter should be reserved for Kaushiki. Alternate forms exist, notably including a Nayaki-slanted version in the Jaipur-Atrauli gharana (see Manjiri Asanare-Kelkar’s demo lesson below). It is said that a 14-year old Pandit Jasraj, then a tabla player, vowed not to cut his hair until he had learned to sing – finally doing so after performing Kaunsi Kanada on All India Radio two years later. Compare to the interlinked Sampurna Malkauns, as well as Bageshri Kanada, which has largely subsumed an older ‘Bageshri-ang‘ raga under the same ‘Kaunsi Kanada’ name – and also see my article What does ‘Kauns’ mean? A brief survey of all known Kaunsi ragas.

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Aroha: nSgmdnS

Avroh: SndnP, mgmRS

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Pakad: variable, e.g. gmdnRS; gmdnPm; (m)gmRS

Chalan: variable – sequences e.g. gmdP; mgR; gmS; gmPmgR; gSd; nRS (Tanarang)

• Often summarised as ‘Malkauns up, Darbari down’ – but many of the best renditions go beyond this, seeking a more interwoven ‘Kauns + Kanada’ blend (while a few uphold an older Bageshri-ang treatment)

• Descent lines can vary significantly even within the same rendition, broadly focusing on the Kanada-ang (ndnPm; dnPmgmR; mgmRS), but also allowing for bespoke motions such as SRnR; gmPmgR; mdnSgPm

• Shuddha ma is usually the predominant swara – and Pa permits various uses, e.g. Shivkumar Sharma weakens it in ascent but brings it out it in descent (gdPm; ndmgP\mg), Jaipur-Atrauli singers emphasise it both ways in ‘Nayaki-ang’ interpretations (mnP; gmPmR; nSRSnPn), and Ali Akbar Khan hides it “like the moon behind clouds” (g(P)m; gmd(P)m)

• Confusion persists as to the relation between Kaunsi Kanada and Kaushiki – while sharing significant overlap, Kaushiki tends to place greater weight on the Kauns-ang in descent (e.g. mdndmg; mgS)

• Both parent ragangas are linked to the late-night hours – with the Kauns-ang hinting at Parvati’s calming of Shiva’s rage, and the Kanada-ang summoning visions of Tansen’s time at Emperor Akbar’s durbar

–Debasmita Bhattacharya (2017)–

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“Like meeting a sophisticated personality, who is gracious, emotionally open, and balanced between…your past experiences, as well as what lies ahead. This conversation can proceed along a number of lines – unlike many mono-melodic ragas, Kaunsi Kanada’s colours span an infinite kaleidoscope…all shades of emotions and possibilities exist.” (Rahul Bhattacharya)

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—Context—

Origins, myths, quirks, & more

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[COMING SOON: click here to hasten the project’s expansion, so all 365+ raga pages can eventually look more like these]

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—Phraseologies—

Melodies, movements, characteristics…

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[coming soon]

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—Ulhas Kashalkar pitch-graph (2019)—

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“At long last, I ‘discovered’ the late-night mood called Kaunsi Kanada. I say ‘discovered’ because early in my musical journey, I’d received the standard, utilitarian, one line description of this raga, namely: ‘Malkauns on the way up, Darbari on the way down’. But this instruction led to a unimpressive set of results – and I tuned off this raga for nearly 15 years. I rediscovered it recently as part of my research into the Kanada raganga, and after covering Nayaki and Sughrai, chanced back on this raga. This technical definition does not explain the emotional content of the raga…” (Rahul Bhattacharya)

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• More •

Histories, melodies, mythologies, etc…

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—Manjiri Asanare-Kelkar: Amodini—

Here’s a transcription of Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s demo lesson, covering her tradition’s incarnation of the raga’s ‘Nayaki-ang’ form (from her superb Amodini: The Joy of Rare Ragas series):

 

“Namaskar, in today’s session I’m going to talk about Raag Kaunsi Kanada. In the beginning, I will make a short alap: S S(gSn)S, n(P)PS, nS nSR, S(nS)m(gmg)m, gmgmPmRSR S, n(gn)S S(nS)g S(nS)nS mgS, S(mgmg)m, m(gm)nP, mnP(m)P, mPnP, mPS(nS), PnR(nSn)S nPnP, mnPmP Pm(gmg)m, g(mgmg)m gmgS gnS ngS.

 

There are different versions of Kaunsi Kanada – this is the Kaunsi Kanada of Nayaki-ang. You must have listened to the famous composition [Kolo Manari], which is of the Darbari-ang (combining Darbari and Malkauns) – but this one is a combination of Nayaki Kanada and Malkauns. Now, I will demonstrate both these ragas in short:

• [Nayaki Kanada] SR(mgm)gm, mnP, nnPmP(mgm)gm, gmPmRSRS, (mgm)gmnP, mP(P)nP, (P)S, (n)RnS, nSRSnPnP, (m)nmP(m)gm, nPmP(mgm)gm, gmPmRSRS, R(Rn)nS
• [Malkauns] S(mgmg)mg, ng(Sg)S, n(dn)dnSm, m(gm)g, gmnd, gmd, gmg, Sg(mg)mgS, (S)ng (S)ngS, g(S)nS ngS mgS, Sgmd(nd)n, dn(Sn)S, Sn(nS)gS, n(Sn)Sn(d)d, mdnSnS n(d)d(m)m, (S)mg, Sgmd gmg, nSng(Sg)S m(g)gS

In this particular raga, Nayaki Kanada is most prominent – with only this small part of Malkauns being used: S(mgm)gm mg, Sng(S)Sm g, Sgmg(S)S, (S)gnSngS, mg(S)S [n.b. this sequence is notable for avoiding dha throughout, despite the key role of that swara in Malkauns]

 

When we combine two ragas into one jod raga, we always keep in mind the swaras which are common to both. In this particular Kaunsi Kanada, ni, ga, ma, and Sa are common to Nayaki Kanada and Malkauns. Here I would like to mention a very important point: though these swara are common to both ragas, they behave differently in each individual raga. Consider a person: they behave differently at home, in the office, or with their friends – though the person is the same, they behave differently in different situations or places. In this way, swaras also behave differently…because of the different approaches to them.

 

For example, let us consider the ga in Nayaki Kanada and Malkauns:

• [Nayaki Kanada] SR(mgm)gm, gmPmRSRS, nP, nmP(mgmg)m, SR(m)gm RSR S
• [Malkauns] nSng(S)S, Sg(mg)m, gmg ngS, SnSng(S)S mg mgS

Now we will see how these ragas are combined into this Kaunsi Kanada. I will use my thumb to represent Nayaki Kanada, and my index finger for Malkauns: nSR S, nSRSnPn P, PS nSng(S)S, Sgm, (mgm)gm, gmPmRSR S, (Sm)g(mg)m, m(Pm)nP, nPmP(mg)m, m(gm)g, nS(mgm)gm (mg)mg, Sgmg(S)S, nPn P, PS, nSR, SR(mgm)gm, gmPmRSR S, nP, mPnP, PS(nS), nSR S, SgnS ngS, S(mgm)gS, nPn P, mP(P)S, nPn PmP, (mgm)gm, mnP, gmg, S(mgm)gm m(gm)g, nSm(g) g(S)S. This is the overall structure. I will conclude with a bandish in jhaptal…”:

 

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—Nayaki-ang (Amodini demo)—

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Also see Manjiri’s other Amodini demos: Abhogi Kanada, Bahaduri Todi, Baradi, Dagori, Dev Gandhar, Gauri, Hussaini Todi, Jait Kalyan, Jaitashree, Kabiri Bhairav, Kaunsi Kanada (Nayaki-ang), Khat (Asavari-ang), Khokar, Lalita Gauri, Lanka Dahan Sarang, Malavi, Maligoura, Mudriki Kanada, Ramdasi Malhar, Raisa Kanada, Shukla Bilawal, Sughrai, Suha, Vihang

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—Listen—

A brief selection of superb renditions

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–Shivkumar Sharma (1999)–

• Shivkumari santoor (22m): a timeless jor–jhalla from Sharma‘s 1982 When Time Stood Still album, recorded at Mumbai’s Rang Bharan festivities – up there with the finest santoor playing I’ve ever encountered, with Zakir Hussain turning in some all-time great rupak accompaniment too (also hear the gats: and witness the pair perform the full raga):

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[jor, e.g. 0:02] ggm, mdnSgm, ggm, SRnR mdnSgPm, ggm, gg gPmg, nn nmgmRS, mdnS m; gg g(P)mm, g(P)mm g(P)mm, g(P)mm n(R)SS…

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–Shruti Sadolikar (2012)–

• Jaipur-Atrauli khayal (11m): a stellar performance from Darbar 2012, showcasing her gharana’s signature command of combining ragas – with a full-toned supporting cast of Vishwanath Shirodker on tabla, Murad Ali on sarangi, and Tanmay Deochake on harmonium (watch her full rendition on the Darbar Player: “she casts a spell in the middle of octave…and expands the raga lavishly with akaar and bol-banav. The chota khayal is rendered with bountiful embellishments…”):

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[refrain, e.g. 4:29] Sgm m(n)d, mdnd (mgm)gm P\m m(gmS) mgS; Sgmd, mdnd m\g(mg) P(m)m…

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–Further Recordings–

• Debashish Bhattacharya (8m): the sarodiya at Darbar 2014 (“up to highland mists, down into valleys of shadows…”)
• Annapurna Devi (24m): an ultra-rare recording by the Maihar surbahar genius, from a 1953 show at Kolkata’s Ranji Stadium
• Pandit Jasraj (30m): in the words of one commenter, “If this music is not in heaven, then I will happily refuse heaven…”
• Dabir Khan (42m): a close-matching form titled ‘Rabkosh Kanada’ (which may be a distinct raga: share your thoughts!)
• Bhimsen Joshi (44m): from the Kirana maestro’s 2002 Unsung Vol.1 (bandish: Rajan Ke Sirtaj & Kahe Karat Mose Barjori)
• Rashid Khan (46m): released on a 2010 album with the late Subhankar Banerjee’s tabla (along with Kaushik Dhwani)
• Ravi Shankar & Ali Akbar Khan (58m): a 1984 Durgapur recital, showcasing the low-toned kharaj strings of both masters
• Sultan Khan (61m): at London’s Guildhall School in 1985 (compare Zakir‘s playing here to his accompaniment above)
• Ulhas Kashalkar (70m): live at the 2008 Saptak Festival in Ahmedabad (bandish: Naiya Mori Par Karo & Kase Kahan Ali)
• Nikhil Banerjee (78m): a 1985 Delhi show, again featuring Zakir Hussain (also see his interlinked Chandrakaushiki)

• 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: Asavari thaat, Asavari shuddha Re, Darbari, Adana, Jaunpuri, Kaushiki, Sampurna Malkauns

Also compare to other members of the Kauns and Kanada ragangas

–Swara Geometries–

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• Core form: S–R–g–m–P–d–n–S

• Reverse: SRGmPDnS (=Khamaj)

• Complement: SrGMDNS (=Marwa)

• Imperfect: 1 (Re)

• Detached: none

• Symmetries: mirror (m—N)

• Murchanas: Bilawal set

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• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• Carnatic: ~Natabhairavi (mela #20)

S-R₂-G₂-M₁-P-D₁-N₂-S

• Jazz: Natural Minor / Aeolian

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

• Pitch classes (‘fret-jumps’):

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

(2–1–2–2–1–2–2)

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o • o o • o • o o • o • o

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• Tanpura: Sa–Pa (+dha)

• Names: Kaunsi Kanada, Kausi Kanada, Kaushiki Kanada, Kousikanda, Kaunsi Kanhra

• Transliterations: Hindi (कौसी कान्ह्डा); Bengali (কৌশিক কানাড়া)

—More—

Further info: links, listenings, learnings, etc

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• Raag Kaunsi Kanada: [coming soon]

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• Header audio: Santoor jor by Shivkumar Sharma (1982)
• Header image: ‘A Special Aarthi is Shown to Lord Shiva’, Maha Shivaratri in celebrations in Tamil Nadu (K.K. Sundar)

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