• Raag Nagadhwani Kanada •

S-R-gG-m-P-D-nN-S


A hazily-codified raga of uncertain origin, Nagadhwani Kanada is seldom performed today – although the term ‘Nagadhwani’ (‘Sound of Serpents’) seemingly appears in ancient lakshanagranthas including the 13th-century Sangita Ratnakara (‘Ocean of Music and Dance’). Joydeep Mukherjee’s Mohanveena rendition lies close to Patdeep, placing particular emphasis on shuddha Dha, while Pandit Jasraj’s Kafi-tilted bandish (composed by his father Motiram: transcribed below) focuses more on shuddha ma, also employing both variants of Ga and Ni. Further information welcome!


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—Pandit Jasraj (1977)—


[bandish, e.g. 0:58] P(nPn) m(Pm) m(Pmn) n(Pm) g(mgSn) nS, m\g m m(gm)P (m)gm, n(P)P; n(Pm)g g(Pm) m(g)m, m(g) n(S), mmm m(n)P m(g)m; P P/RR, S N(SN)S, D(nDnSnSR) R(SNSnDnDPD)G, (G)P D n S…

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• 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. | BihagBilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

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• Prakriti: Jaijaiwanti, Jaijaiwanti Nat, Gara, Zila Kafi, Hanskinkini, Jayant Malhar, Ramdasi Malhar, Rageshri Bahar, Tilang Bahar, Patdeepaki

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–Swara Geometries–

Core form: SRgGmPDnNS
Reverse: SrRgmPdDnS (=Amiri Todi)
Negative: 5-5-2
Imperfect: 1 (Ni)
Detached: none
Symmetries: mirror (r—P)
Murchanas: Jaijaiwanti set

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

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–Global Translations–

Carnatic: ~Dwijavanthi
S-R2-G2-G3-M1-P-D2-N2-N3-S
Jazz: Dorian-Ionian
1-2-b3-3-4-5-6-b7-7-8
Pitch classes (‘fret-jumps’):
0-2-3-4-5-7-9-10-11-0
(2–1–1–1–2–2–1–1–1)

o • o o o o • o • o o o o


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• Tanpura: Sa–Pa (+Ni)
• Names: Nagadhwani Kanada, Naga Dhwani Kannada

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—Joydeep Mukherjee (2022)—

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An open-ended project seeking to bring North Indian raga closer to all who approach with open ears. Combines direct input from dozens of leading Hindustani artists with in-depth insights from music history, global theory, performance practice, cognitive science, and much more! [out 2023-24]

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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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