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

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Described by Rajan Parrikar as “an uncommon Kanada variety, on which there prevails no consensus”. Basing his analysis of Ramrang’s renditions, he considers the raga to be formed via “introducing a shuddha Dhaivat into the Adana stream…[although] the Agra-Atrauli edition comes in a different flavour, involving a recurring phrase of RmRP” (evident in Sharafat Hussain Khan‘s take). Also refer to the Kishori bandish transcribed below, as well as Manjiri Asanare-Kelkar’s melodic breakdown – which describes it as “complex, with continuous movement from one raga to another…there are three main components: Shahana Kanada, Nayaki Kanada, and Sughrai Kanada“. Compare and contrast with other Kafi-prakriti Kanada ragas including Shahana, Raisa Kanada, and Hussaini Kanada.

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राग मुद्रिकी कनाड़ा

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—Kishori Amonkar (1984)—

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[refrain, e.g. 0:24] P(DPD), P(mPD) PDnS (D)Dn\P, P(DPDPmP), P(mPD) PDnS (D)Dn\P…

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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 (from her superb Amodini: The Joy of Rare Ragas series):

 

“Namaskar, today I have come with Mudriki Kanada. As this is a complex raga, I will begin with the bandish: (g)nS, SD(nD)P, m(nm)P, Rm RmP, mP(n)S nPnm, m(gm)gm (n)P m(g)m, (RS)RS, (RS)nPnS, g(mgm) RSRS, mPnP, PS(n)S, SS n(SnS)R RS RnS, (nP)nP, mP(Sn)S, Sm(gm) RSR S, mP(SnS)RS, (Rn)SP, mP(mg)m, mD(nD)nP, P(nm)P mRmRP.

 

This raga is complex, combining three main components – Nayaki Kanada, Sughrai Kanada, and Shahana Kanada. Only some parts of these ragas are used – I will now show them one-by-one:

• Shahana: SD(nD)nP, nP, (m)gm, mDnP
• Nayaki: mPnP, S(nS), RnnS PnP, nmP(m)gmnP
• Sughrai: nP, RmRP, (m)gm RSRS, RSnPnSR (m)gm, RSRS

There is continuous movement from one raga to another, so I cannot show [exactly how to separate them] – I will demonstrate the structure using sargam: SD(nD)nP, nmP RmRP (m)gm, RSR S, RSnPnSR (m)gm, mDnP, mPnP, (P)S (n)S, SRnnS, nSRSnPnP, nmP RmR P(m)gmD nPmP, (m)gm, RSR S, SR(m)gm mDnP, mPnPS, nSRS, SR(m)gm RSR S, RnnS, RRSnS nPn mPm, RmRP(m)gm, mmDnP, nmP(m)gm, RSR S.

 

With the help of an alap, I will show the overall picture: mD(nD)P, nmP, mRmR P(m)gm RSR S, RSnPnSR(m)gm, mnP, PS, nR(S)nS, nS(nS)RS, n(RSn)S, nPmP(m)gm, mDnP, nmP, RmRmP(m)gm, P(nPm)gm, RSR S, S(Rn)S. I will conclude with a beautiful bandish in jhaptal…”

 

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—Mudriki Kanada (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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• 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, Hussaini Kanada, Raisa Kanada

–Proximate Forms–

Khamaj = ‘Mudriki Kan. shuddha Ga‘

Patdeep = ‘Mudriki Kan. shuddha Ni‘

Ahiri = ‘Mudriki Kan. komal re‘

Darbari = ‘Mudriki Kan. komal dha‘

Sindhura = ‘Mudriki Kan. double Ni‘

(n.b. these are just ‘scalar similarities’, with nothing particular implied about phraseological overlap)

–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’) • ‘Pa-repeating‘ (poorvang and uttarang take the same ‘semitone shape’)

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–Global Translations–

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• Carnatic: ~Kharaharapriya (mela #22)

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: Mudriki Kanada, Mudrik Kanada, Mudriki Kannada, Mangala Kanada

• Transliterations: Hindi (मुद्रिकी कनाड़ा)

—Sharafat Hussain Khan (~1970s)—