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Distinguishing
between Similar Ragas
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| Distinguishing between Ragas Jaunpuri - Darbāri Kānhādā- Adānā : |
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The treatment of different Ragas has been a very
interesting and at the same time, a very challenging task for the
practicing musicians. In order to be successful in this area, it is
always felt that aspiring musicians, right from their formative stage,
acquire a thorough knowledge of the Ragas, and understand the
intricacies properly so that the presentations are marked by
authenticity, sensitivity and an eye for beauty, blended with their
skill.
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The three similar Ragas in this session are Jaunpuri, Darbāri Kānhādā
and Adānā.
Pandit Falguni Mitra guides you through some of their essential
features: |
| 1. |
All these three Ragas belong to Thaat Asavari |
| 2. |
All three Ragas use Komal Gandhar, Komal Dhaivat and
Komal Nishad. In Adānā, Shuddha Nishad is applied additionally. |
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| The intrinsic characteristics of these
ragas, however, differ : |
| |
| Jaunpuri |
Darbāri
Kānhādā |
Adana |
| Jaunpuri is soft
and pleasing and has simple movements. It is a morning
melody. |
Darbāri Kānhādā
is a majestic night melody, of sombre and serious mood and
with restrained emotions. |
While close to
Darbāri Kānhādā , Adānā’s character is somewhat restless –
it does not stay on one note long. Adānā is also a night
melody. |
| In Jaunpuri, a
balanced application of alankars (ornamentations) is
adopted. |
Meends and
gamaks are applied widely with telling effect but with
enormous care in Darbāri Kānhādā . |
In Adānā, gamaks
are used in good measure but not so much, the meend. |
| Jati :
Shadav-Sampoorna |
Jati : Sampoorna
– Shaadav |
Jati: Shaadav –
Shaadav |
Arohan: S R M P
d n S
Avrohan: S n d P M g R S
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Arohan: S R g, M
P d,n S
Avrohan: S d n, P, M P g, M R S
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Arohan: S R M P,
d, N S
Avaroh: S d N S, d n P, M P, g M R S
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Vadi : Dha (komal)
Samavadi : Ga (komal) |
Vadi: Re
Samavadi: Pa |
Vadi: Sa (Taar
saptak)
Samavadi: Pa |
| Jaunpuri is an
Uttaranga pradhan Raga, which means that the development
and the movement are mainly in the area – P D N S. There
is hardly any scope in the area – S R M. |
The Gandhar here
is Andolit – it swings and is tremulous. The same thing
applies to its Dhaivat, but care should be taken to see
that the Andolan does not go beyond the required limits.
In Darbāri Kānhādā , the development in the mandra saptak
or lower register is very absorbing. g M R S and d n P
phrases come back again and again creating a beautiful
atmosphere. Here is the ‘chalan’ of Darbāri Kānhādā .
|
Adānā sounds
very forceful because of some special note movements. |
| In Jaunpuri, we use M G R S and not G M
R S. Similarly, N D P and not D N P. |
Microtones or Shrutis play a very highly
important role in our Rāga Sangeet. In a particular Raga, the Komal Gandhar
may be a wee bit lower than the usual Komal Gandhar position. In certain
other ragas, this note may be slightly higher. Shrutis are in-built in the
ragas – and care should be taken that they are properly understood and
applied. The shrutis of G and D in Darbāri Kānhādā are lower than Jaunpuri’s.
|
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Here is how Gandhar and Dhaivat are
used in Jaunpuri as against Darbāri Kānhādā
.
There is a difference, though very slight and subtle,
between the two. |
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Here
are the main movements of Jaunpuri and those of Darbāri
Kānhādā , presented side by side
.
Note the use of the lower register in Darbāri Kānhādā . |
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| |
Here
are some movements of Adānā and Darbāri Kānhādā , side by
side.
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| |
Note that the Arohan or ascent in both
Darbāri Kānhādā and Adānā are similar. However, in Adānā,
the Komal Gandhar is skipped and Shuddh Nishad instead of
Komal Nishad is applied. The tempo in Adānā is generally
faster than Darbāri Kānhādā (due to its restless nature)
and the movement is always upwards – ie, a greater use of
the higher notes (uttarang) in the scale while Darbāri
Kānhādā concentrates on the lower and middle registers |
| Note that while there is a possibility
of confusing Darbāri Kānhādā with Adānā, Jaunpuri can
never be confused with Adānā. |
| Here is a dhamaar composition in Raga
Jaunpuri. A Dhamaar is a distinguished form of music,
associated with Dhrupad. The mood is of gaiety, depicting
the playing of colours between Sri Krishna, Radha and
inhabitants of Vrindaban (festival of Holi) - which is
actually the theme of most Dhamaar compositions. A few
Dhamaar compositions also relate to the monsoons (Dhamaar
is also the name of a specific taal of 14 beats).
|
Now, a Dhrupad
in Darbāri Kānhādā composed by Tansen in Tala Choutaal,
describing Krishna
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Finally, here is
a lovely composition in Raga Adānā, a Dhrupad created by
Maharaja Anand Kishor of Betia gharana set to Jhaaptaal,
dedicated to Goddess Kali. Jhaptaal comprises 10 beats:
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| Symbols of Notes: |
Shuddha - |
R, G, M, D, N |
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Komal - |
r, g, d, n |
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Tivra - |
M |
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