Raag Darbari Kanadaदरबारी कान्हड़ा
Sourced · not yet reviewed by a musician
Asavari thaat · Sampurna-Sampurna (vakra) · Midnight
- Night
- Midnight
- Late night
Swaras and phrases
Outlined: vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Re · samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Pa
Tap a lit note to hear it · Synthesized for study — not a recording
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa Re ga Ma Pa dha ni Sa'
Source: Artium Academy +2
- Artium Academy, Raag Darbari Kanada page, aroha
- Krsna Kirtana Songs, Raga facts, Aroha
- Raag Hindustani / Sādhana, Linked scale image under corresponding raag heading; left ascent / right descent
- 3 of 5 sources agree
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' dha ni Pa Ma Pa ga Ma Re Sa
Source: Artium Academy +1
- Artium Academy, Raag Darbari Kanada page, avaroha
- Raag Hindustani / Sādhana, Linked scale image under corresponding raag heading; left ascent / right descent
- 2 of 5 sources agree
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- Sa \ dha ~ ni \ Pa; Ma ga ~ Ma \ Re - Sa
Source: AUTRIM
- AUTRIM, Darbari Kanada page, characteristic phrases
- 4 versions in 4 sources
About Darbari Kanada
Darbari Kanada unfolds slowly in the lower and middle registers. It can rise directly, but its descent is oblique, and slow oscillations on komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga and komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Dha are characteristic.
Source: AUTRIM +1
Also called Darbari.
Source: AUTRIM
- AUTRIM, Darbari Kanada page, description
Curriculum: Pracheen Kala Kendra's vocal syllabus prescribes it at Visharad I.
Source: PKK
- PKK, printed p.9, list of prescribed raags
How it moves
AUTRIM says the ascent can be direct.
Source: AUTRIM
- AUTRIM, Darbari Kanada page, opening description
Learner focus
Listen for slow, subtle oscillations on komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga and komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Dha.
Source: AUTRIM
- AUTRIM, Darbari Kanada page, opening description
Caution
Adana and Kaunsi Kanada use the same notes but move differently and have a different character.
Source: AUTRIM
- AUTRIM, Darbari Kanada page, description
Study prompts
Short exercises that restate what the cited sources say.
- Sing Sa, glide down to komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Dha and oscillate it, then move through komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni down to Pa.
- Sing Ma ga with an oscillation on komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga, return to Ma, glide down to Re, and end on Sa.
- Adana and Kaunsi Kanada use the same notes. Listen for how they move differently from Darbari's slow, low phrases.
Variants
- AUTRIM describes Ga as very flat, but its analysed recording shows Ga moving with the phrase, so there is no single fixed pitch for it.
Source: AUTRIM
- AUTRIM, Darbari Kanada page, opening description
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 3 sources agree
- Jati3 of 3 sources agree
- Time4 of 6 sources agree
- Aroha3 of 5 sources agree
- Avaroha2 of 5 sources agree
- Pakad4 versions in 4 sources
- Vadi3 versions in 3 sources
- Samvadi2 of 3 sources agree
Sources differ
Notes where the cited sources describe the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary differently. Field-by-field versions and their sources are under How the sources vote.
- AUTRIM's page writes the Kanada phrase with a tivra MaTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary sign in two places, but its note list and characteristic phrase use shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ma. RagaPedia follows the shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ma.
Source: AUTRIM
- AUTRIM, Darbari Kanada page, opening description
Similar raags named by the sources
Film songs
Film songs where a checked source names Darbari Kanada. Each song shows whether a musician has reviewed it yet.
Archive recordings
Read the imported recording notes and view artwork in Ragapedia. Programme labels come from Raga Records and await independent musical review. Recovered audio is available in the listening collection. Complete CD audio remains pending.
RAGA-226 · CD
Vasant Rai — New York, 1981
Vasant Rai (sarod);Ananda Gopal Bandopadhyay (tabla);Kokila Rai (tanpura)
Darbari Kanada
Alap
Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
A tradition linking Darbari to Tansen
AUTRIM reports a suggestion that Tansen, a dhrupadDhrupadA Hindustani vocal form built around composed text, raag and taal, traditionally with pakhawaj accompaniment.Source: N4 §§4.1–4.3, pp. 28–30. and 1 moreMore in the glossary singer at Akbar's court, reshaped an older Kanada to create Darbari Kanada. The page presents this as a proposed origin, rather than a settled event.
Uncertain · Source: Opening historical suggestion about Tansen
Darbari in a New York church
Raga Records documents Vasant Rai playing a Darbari Kanada alapAlapAn exploration that unfolds a raag’s melodic character. Alap commonly introduces notes and phrases without a fixed taal accompaniment.Source: RR14 §5.2, PDF pp. 6–7, respective subheadings.More in the glossary at Washington Square Church in New York on 21 September 1981. The release also credits Ananda Gopal Bandopadhyay on tabla and Kokila Rai on tanpura.
Documented · Source: Raga-226: opening performer credits, Darbari Kanada track and venue/date
Sources for this profile
ThaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary, time, vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, arohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary, avarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary and pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary show the version the most independent publishers print; the sources page lists every version and who prints it. Other facts follow the source cited beside them. No musician has reviewed this profile yet.
- Darbari Kanada: raag profileMusic in Motion: AUTRIM (NCPA and University of Amsterdam) · cited as AUTRIMRaag profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
- Raag Darbari KanadaArtium Academy · cited as Artium AcademyA private music academy's raag page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
- Raga Darbari KanharaKrsna Kirtana Songs · cited as Krsna Kirtana SongsPublic educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and raga pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komal/andolan qualifier, retained in rawValue; normalized pitch remains komal. Accessed 17 October 2026.
- Indian Classical Music in Prabhāta Saṃgiita, by KiritPrabhāta Saṃgiita (article by Kirit) · cited as Prabhāta Saṃgiita (article by Kirit)Public teaching article. robots.txt returned 404, with no restrictive terms link found in the inspected page. No open licence assumed: cite factual fields, paraphrase prose; text is local audit evidence. The article explicitly defines lowercase re/ga/dha/ni as komal and lowercase ma as tivra; single trailing prime is lower octave, double quote is upper. Printed apparent musical errors are not corrected. Accessed 17 October 2026.
- Samay Raga – The Time Theory of RagasITC Sangeet Research Academy · cited as ITC Sangeet Research AcademyPublic academy teaching page. robots.txt returned 404; no terms/automation restriction linked from the inspected home/page. Copyright retained: time facts are cited, prose paraphrased; fetched text is local evidence. This source is added only to raags for which it was not already used. Accessed 17 October 2026.
- Raga Families (raagang) & Compound Ragas (jod raag) - Raag HindustaniRaag Hindustani / Sādhana · cited as Raag Hindustani / SādhanaPublic teaching chapter; robots.txt returned 404 (no directives). Terms reviewed at /TermsofUse.html, with no automation ban found. Copyright retained: cite the factual field, paraphrase prose; text and linked notation image are local audit evidence only. Staff images were visually checked. No vadi, samvadi or pakad is inferred from the teaching examples. Accessed 17 October 2026.
- Darbari | SRgmPdnS | Hindustani Raga Index | 365+ RagasRāga Junglism / George Howlett · cited as Rāga Junglism / George HowlettOpen-access musician-authored Raga Index. robots.txt disallows filter-result paths, not this raga page; no separate restrictive terms link found on the inspected page/about page. No open reuse licence assumed. Cite factual melodic summaries; paraphrase prose. Quoted AUTRIM/Tanarang/Parrikar passages and attributed chalan are not new independent votes. Accessed 17 October 2026.
- Vocal Music syllabus: VisharadPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.