Darbari Kanada
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For a tirupugazh in Darbari Kanada-
http://kaumaram.net/gr-audio/0096.zip
Here's unnikrishnan singing Govardhana Giridhara
http://as01.cooltoad.com/music/song.php ... e85bb51809[/url]
http://kaumaram.net/gr-audio/0096.zip
Here's unnikrishnan singing Govardhana Giridhara
http://as01.cooltoad.com/music/song.php ... e85bb51809[/url]
a mesmerising sukhee evvaro by
mali in the company of tnk-palghat mani iyer
:http://rapidshare.de/files/18477453/MAL ... O.mp3.html
mali in the company of tnk-palghat mani iyer
:http://rapidshare.de/files/18477453/MAL ... O.mp3.html
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A useful resource on Hindustani Kaanada and its varients at
http://www.sawf.org/newedit/edit12112000/musicarts.asp
http://www.sawf.org/newedit/edit12112000/musicarts.asp
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http://www.karnatik.com/ragasd.shtml#darbaari%20kaanaDa
darbaari kaanaDa
20 naTabhairavi janya
Aa: N2 S R2 G2 R2 S M1 P D1 N2 S
Av: S D1 N2 P M1 P G2 M1 R2 S
Songs : gOvardhana giridhara - NT
hari tum harO (bhajan) - M
jaya jaya dEvi (bhajan)
kalaimagaLum (bhajan)
ksheeraabdi kannige (CaraNam 2)
Film songs : Aahaya vennilavE tarai (Arangetra velai)
*cinnanjjiriya vaNNapparavai (rata tilagam)
darmaseelaa kalaivaaNarukkuLLE naanum (seerkaazhi gOvindaraajan)
KalyaaNa tenilaa (mounam sammadam)
kanavu kanda kaadal
MaarugO maarugO (sati leelaavatee)
MalarE mounamaa (karnaa)
marudamalai maamaNiyE murugaiyaa (deivam)
nee varavillaiyenil aadaravEdu (mangaiyar tilakam)
shiva shankari (Jagatalapratapan)
Taj MahaalE (periya tambi)
Valarnda kadai (kaattirunda kaNgaL)
vasantatil Or naaL (moonru daivangaL)
VKI wonder how many of them achieve the strong identity in the minds and imaginations of artists and the audience
there is whole range of them
Listen to this nayaki kanada and the words "Mero Peeya " will never be the same again to you.
http://www.sendspace.com/file/m5tpgv
Nayaki kanada, rasia kanada, gunji kanad , suha kanada,bagesree kanada, abhogi kanada, kafi kanada ,sahana kanada,gara kanada,huseini kanada and why even a lankeswari kanada
will put up an excerpt from an Omkarnath Thakur concert at academy singing Huseini kanada in the company of MSG and Samtha Prasad.
last time Sruthi Sadolikar sang for Carnatica I coaxed the organisers to ask her to sing Nayaki Kanada.But she threw a tantrum that we southies were not aware of the time restriction for a raga. How could we ask for Nayaki Kanada at 6pm.
At it was the Usual Bagesri -all over again.Needless to say, I went to sleep in the comfort of AC.
Woken up now and then by the Oohs and Aahs -- How long she can hold a swara ....Tch Tch Enna Sruthi Shuddham Tch Tch
Still cannot understand whe authentic HM devoid of the yamans hamsadwanis Puriyadhanasree (I shudder at the name of this raga ,thanks to MSG) will ever get a foothold here.
Maybe if you like , we will go through a short tour of the different variants of Kanada here.
Huseini Kanada
Omkarnath thakur-MSG-Samthaprasad-music academy
I have picked up the proceedings at a point where Samthaprasad is being egged on to display his talent.
http://www.sendspace.com/file/7k03dg
Omkarnath thakur-MSG-Samthaprasad-music academy
I have picked up the proceedings at a point where Samthaprasad is being egged on to display his talent.
http://www.sendspace.com/file/7k03dg
Thillana by Sanjay (Sangeethapriya - concert link)
Last edited by thanjavur on 08 Jun 2007, 02:45, edited 1 time in total.
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Not heard a rtp yet, For me brindAvana sAranga and darbAri kAnaDa have lot of overlapping piDi's.vijay wrote:Incidentally, I find Nagagandhari quite similar to Darbari.
moderators,
The title can be changed to darbAri kAnaDa (not darbAri kannada)
Last edited by rajeshnat on 08 Jun 2007, 18:13, edited 1 time in total.
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Hi folks,
If interested, please visit http://sunson.wordpress.com/2007/07/22/o-kanada/ for a humble attempt by me describing my half-educated perceptions on kAnaDa, where-in I have attempted to compare/contrast with darbAri kAnaDa (only as how it is different from kAnaDa as i perceive it). I have included some audio samples to explain some of the points. It is definitely not an technical post on the lakshana of the ragas and intended for easy reading.
Please leave comments in the blog about errors, corrections and any improvements
Arun
If interested, please visit http://sunson.wordpress.com/2007/07/22/o-kanada/ for a humble attempt by me describing my half-educated perceptions on kAnaDa, where-in I have attempted to compare/contrast with darbAri kAnaDa (only as how it is different from kAnaDa as i perceive it). I have included some audio samples to explain some of the points. It is definitely not an technical post on the lakshana of the ragas and intended for easy reading.
Please leave comments in the blog about errors, corrections and any improvements
Arun
Last edited by arunk on 23 Jul 2007, 08:05, edited 1 time in total.
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after posting the above, now a part of me feels uneasy as the post refers to a personal blog, and the article itself has a more personal viewpoint (like why I like kAnaDa). Hence it appears like a self promotion. However, I am unsure whether it is right or not to do post such links.
Mods - please feel free to remove it if you think it is stepping above the line.
Mods - please feel free to remove it if you think it is stepping above the line.
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Hi,
darbAri kAnaDa is one of my favorite Hindustani rAgas. Btw, I am writing this response about darbArI kAnaDa pretty late into the night (which is the right time for performing/listening/thinking about this rAga), so I hope Shruti-ji will be pleased with me!
Coolkarni-ji, if you still need pointers to distinguish between darbArI kAnaDa and kAnaDa, you should read Arun's blog. To summarize, darbAri has a (oscillated) d1 whereas Carnatic kAnaDa has a steady d2. And there are differences in how the gAndhAra (g2) is applied.
Arun, two more important distinctions are their tessituras and the role of the panchama: darbArI is pUrvAnga-pradhAna, as Rajan Parrikar mentions in that very nice article. There is plenty of movement into the mandra sthAyI, and some of those sNp and mpdns prayogams simply make my knees go weak! Carnatic kAnaDa, on the other hand, ventures quite a bit into the tAra sthAyI and underplays the mandra (although the varNam neranammiti has one snpm in that octave).
I also feel that darbAri affords a larger role for the panchama, especially in the ArOhaNa -- the Andolita d1 also leans on p. Carnatic kAnaDa skips the panchama quite often in the ArOhaNa and uses the steady d2 as a resting place.
I haven't heard or heard of full-fledged darbAri renditions (RTP-style) in Carnatic concerts -- although it features in viruttams sometimes. Here's a rendition of dEvan kE pati:
http://www.swathithirunal.in/htmlfile/60.htm
Coolkarni-ji, I agree with you about the nAyakI kAnaDa bandish "mErO piyA" -- nAyakI is devoid of the dhaivata d1 (well, almost always), and the sam of this bandish (the "pi" of piyA) is placed very appropriately on the N. Both Mogubai's and Kishori's renditions are splendid. Yes, could we please have some recordings of different Hindustani Kanada prakars?
Talking of Kanada prakArs, I found a patent ShaNmukhapriyA phrase in N Rajam's (brilliant) darbAri:
http://www.sangeethapriya.org/~sripathy ... Kanada.mp3
I'm talking of the movements from about 2:07, and the phrase between about 2:16 and 2:27.
Maybe we should call that ShaNmukh kAnaDa, eh (it's "time" for humor again)!
Best,
Ganesh
darbAri kAnaDa is one of my favorite Hindustani rAgas. Btw, I am writing this response about darbArI kAnaDa pretty late into the night (which is the right time for performing/listening/thinking about this rAga), so I hope Shruti-ji will be pleased with me!
Coolkarni-ji, if you still need pointers to distinguish between darbArI kAnaDa and kAnaDa, you should read Arun's blog. To summarize, darbAri has a (oscillated) d1 whereas Carnatic kAnaDa has a steady d2. And there are differences in how the gAndhAra (g2) is applied.
Arun, two more important distinctions are their tessituras and the role of the panchama: darbArI is pUrvAnga-pradhAna, as Rajan Parrikar mentions in that very nice article. There is plenty of movement into the mandra sthAyI, and some of those sNp and mpdns prayogams simply make my knees go weak! Carnatic kAnaDa, on the other hand, ventures quite a bit into the tAra sthAyI and underplays the mandra (although the varNam neranammiti has one snpm in that octave).
I also feel that darbAri affords a larger role for the panchama, especially in the ArOhaNa -- the Andolita d1 also leans on p. Carnatic kAnaDa skips the panchama quite often in the ArOhaNa and uses the steady d2 as a resting place.
Was this Sudha's concert with a pallavi line that went something like " kamalOchani, chandramukhI, ..."? I definitely remember this being in Carnatic kAnaDa, although (I don't remember) Sudha may have used darbAri-like prayOgas here and there? I remember TN Krishnan played a darbAri-type srG during his AlApana for "mAmava sadA janani" in LA sometime ago.arunk wrote:IIRC, a few years back, there used to a Nityashree/Sudha (dont remember) concert available online (eshakthi?), which I think featured a RTP in darbAri kAnaDa.
I haven't heard or heard of full-fledged darbAri renditions (RTP-style) in Carnatic concerts -- although it features in viruttams sometimes. Here's a rendition of dEvan kE pati:
http://www.swathithirunal.in/htmlfile/60.htm
Coolkarni-ji, I agree with you about the nAyakI kAnaDa bandish "mErO piyA" -- nAyakI is devoid of the dhaivata d1 (well, almost always), and the sam of this bandish (the "pi" of piyA) is placed very appropriately on the N. Both Mogubai's and Kishori's renditions are splendid. Yes, could we please have some recordings of different Hindustani Kanada prakars?
Talking of Kanada prakArs, I found a patent ShaNmukhapriyA phrase in N Rajam's (brilliant) darbAri:
http://www.sangeethapriya.org/~sripathy ... Kanada.mp3
I'm talking of the movements from about 2:07, and the phrase between about 2:16 and 2:27.
Maybe we should call that ShaNmukh kAnaDa, eh (it's "time" for humor again)!
Best,
Ganesh
Last edited by gsriram on 12 Aug 2007, 16:23, edited 1 time in total.
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thanks ganesh. I see your points about the differences between the two. And you may be right about that Sudha's concert. It was indeed quite a while ago and in those days I was more shaky on raga identification.
Last edited by arunk on 12 Aug 2007, 21:26, edited 1 time in total.
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The pallavi is in kAnaDA. I think the words start with, "kamalAsani sundari candravadani... "(maybe someone now can recall the rest of the words, I haven't heard that pallavi for very long :rolleyes:).gsriram wrote:Was this Sudha's concert with a pallavi line that went something like " kamalOchani, chandramukhI, ..."? I definitely remember this being in Carnatic kAnaDa, although (I don't remember) Sudha may have used darbAri-like prayOgas here and there?
How can one forget the immortal MLV's rendition of gOpAladAsa's "rAmanAma bhajisitavage?"
I think there was a song in the movie, "Saaz" where a Hindusthani piece in darbAri kAnaDA was presented.
Last edited by kmrasika on 13 Aug 2007, 20:07, edited 1 time in total.
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