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 [SD(nD)nP, nP(mgm)gm, DnP], Nayaki Kanada [mPnP, (PmP)SnS, R(R)n, n(Sn)S, PnP, n(m)P, P(mgm)gm, nP], and Sughrai Kanada [nP, RmRP, (mgm)g RSRS, RSnPnSR (mgm)gm, RSRS]”. Compare and contrast with other Kafi-prakriti Kanada ragas including Shahana, Raisa Kanada, and Hussaini Kanada.

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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):

• [coming soon]

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—Mudriki Kanada (Amodini demo)—

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Also see Manjiri’s other Amodini demos: Abhogi Kanada, Bahaduri Todi, Baradi, Bhankar, 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’)

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–Global Translations–

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• 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)

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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)—