Here is the eight one in the series (click here for the seventh one). Again, not exactly a rare raga, but a very delectable one. It is not very often rendered, but it is not too rare.

(Answer below)

Select the text below to reveal the answer and some comments:
Artist: Nedunuri Krishnamurthy
Raga: kannaDagauLa, belonging to the kharaharapriya (22) mela. The raga could be viewed as sort of a cross between suddhadhanyAsi and contemporary AbhEri (and thus can resemble either of them here and there), but with some added individual characterictics. I find its structure to be especially interesting when compared with the structure of these two ragas.

suddhadhanyasi’s structure is straight forward pentatonic/audava as in S G2 M1 P N2 S / S N2 P M1 G2 S. Contemporary Abheri’s structure is S G2 M1 P N2 S / S N2 D2 P M1 G2 R2 S – i.e. same as suddhadhanyasi in the ascent but sampUrna as in including all swaras of the mela in descent. kannaDagaula is not a straight-forward cross of these two, and its structure is S R2 G2 M1 P N2 S / S N2 D2 P M1 G2 S. In the Arohana, we have some aspects of characteristic suddha-dhanyasi and Abheri ascent as in G2 M1 P N2 S. However, we have ri in the ascent (thus e.g. s r g, r g m etc. are allowed), which is found in neither suddhadhanyasi nor Abheri. In the descent, we have the S N2 D2 P like AbhEri, but we have M1 G2 S of suddhadhanyasi. This means you would have d p m g s, n d p m g s etc. which may resemble suddhadhanyasi somewhat although the whole phrase as such is disallowed in suddhadhanyasi (no dha). This whole phrase also isn’t supposed to be done in AbhEri. In AbhEri, one should descend as g r s there, which of course is disallowed in kannaDagaulA as one cannot descend from ri in it!

In any case, I find the raga to be an instantly attractive one just like suddhadhanyasi and AbhEri, somewhat close to them but still having its own unique charm.

Now that you know the raga, enjoy the kalpanaswaras for this raga by the same artist (but actually for a different song):

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