The Automated Transcription for Indian Music (AUTRIM) Project by NCPA and UvA

Nayaki kanada

This popular variety of Kanada is believed to be the creation of Gopal Nayak, a contemporary of Amir Khusrau and a musician in the court of Sultan Allauddin Khilji (Shah [Kanada ke prakar] 1972:204).

Two types of Nayaki kanada have been prevalent. Both have the same tonal material but there is a considerable difference in the phraseology (ibid). The first type is a combination of rag-s Suha and Sarang, whereas the second type (presented and described here) is characterised by inclusion of a typical phrase -g m P m R S R -S. The latter version is favoured by musicians of Agra gharana and today this is the version that has gained currency.

Tone material: S R g m P n

Dha is totally omitted, although some authors have mentioned the use of natural Dha with flat Ni in this rag (ibid).  Ga can be included in two different ways: either  with an oscillation in the phrase S R g~ m R S which is a typical movement for the rag-s of the Kanada family or  in the fast-rendered note pattern g m P m R S R -S, the most characteristic movements for Nayaki kanada. Also typical for this rag are the glides R /P and n \P. Re is an important note which is emphasised.

Some characteristic phrases:

R S R n S
gmPmRS R-
S r g ~ m R
R n S \P n \P
g m /n \P
R /P

Rag-s Sughrai, Suha and Nayaki kanada are quite similar. However, Sughrai includes both forms of Ni and Pa receives more emphasis as against Re in Nayaki kanada.  An excessive use of Ma in Nayaki kanada can take it close to Suha.

Time: late night (ibid)

Further listening:
Mogubai Kurdikar ELRZ -17
Recording by Mallikarjun Mansur (second type)
Recording by Kesarbai Kerkar (first type)
Parrikar on Kanada

Performance by Jayateerth Mevundi

Composition: chhota khayal

मगवा रन वारो पिहरवा

इन नैंन पर तन मन वारो
दरस दिखा जा सुख जियरा

The song depicts a lady who has surrendered her body and soul to her beloved and is now desperate to be with him.

Tal: Jhaptal (medium tempo)

4-16: Performance opens with a typical phrase – R \ n S, followed by another typical phrase -n \P
26-37: Re, the most important note in this rag is sustained, followed by oscillating flat Ga concluding with g m \R, a movement typical to Kanada. The oscillations (andol) on Ga are in association with re below and range between Re and the flat Ga
45-54: Note glides from the lower Pa to Ni, Sa and Re respectively, followed by oscillations on Ga. which are in association with natural Ma above and range between flat Ga and Ma. Again concluding with g m \R
59-67: Re is sustained followed by a typical glide R /P. Note a touch of Ma for Pa
71: Following a sustained Pa, a descending phrase m P n \G ~ in which Ga is oscillated. Note the characteristic movement gmgmPmRSR (75-79)
94-96: Another typical phrase g m /n \P, also followed by oscillating Ga (101-103), concluding with m /n \P
128-129: Glide -S \P /n \P
137-140: Again, gmgmPmRSR
142: Composition begins. Note that the melody includes features like sustained Re, oscillating Ga and the characteristic movement -gmgmPmRSR
183: Elaborations in the lower and lower middle octave using words of the composition (bol alap)
261: Elaborations continue around Pa including glide n \P. Gradually higher notes are included as well
312: Second part of the composition (antara)
348: Concluding line of the composition
366: Playing with the tempo (layakari)

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