Raag Darbari is one of a raag of the Kanada family . It is believed to have its root origin from Carnatic Music and is considered to have been brought into North Indian Music by Miyan Tansen, the legendary 16th century composer in the Mughal Emperor Akbar’s court. This raag was sung by Tansen in the royal courts (Darbar) of Akbar, henceforth adding the prefix ‘Darbari’ to it.
The raag comes across as a musical entity with controlled power, philosophical depth, emotional richness and regality (badge of royalty), and is rightly called the raag of the Emperors (or their darbars) or the Emperor of the raags. Darbaari is a grave raag, played deep into the night, considered to be more difficult to master and with the potential for profound emotional impact.
Musical Characteristics of Raag Darbari
Darbari Kanada is created from the notes of Asavari thaat and has some interesting musical characteristics. It is a very serious raag and hence, slow and elaborate . Meend (bends) and Andolan(heavy oscillations) are generally more preferred than light and frivolous ornamentations like Murki or khatka.
Gandhar and Dhaivat are the two prominent Darbari raag notes which have oscillating character. In Aaroh, Gandhar is rendered with a kan of Rishabh and Dhaivat is rendered with a kan of Pancham whereas in Avroh, Gandhar is rendered with a kan of Madhyam and Dhaivat with a kan of Nishad.
Dhaivat is skipped in Avroh like S’ (n)d n p. This is a Gamak and Meend Pradhan Raag and is generally expanded in Mandra and Madhya Saptaks ( low/middle octaves). It is said to be a sampurna-sampurna raag , but it must be presented in a vakra (zig-zag pattern) to distinguish it from related raags such as Jaunpuri, Asawari or Adana. The occurrence of repeat Swaras – as double or triple combinations like SSS, NNN, PPP.. etc is a special feature of this raag.
Raag Darbari Notes (Swar notations)
| Swaras | Gandhar, Dhaivat and Nishad komal. Rest all shuddha swaras. |
| Jati | Sampurna-Sampurna Vakra |
| Vadi/Samvadi | Rishabh/Pancham |
| Ideal time to sing | Mid-night /Third prahar of the Night |
| Vishranti Sthan | S; R; P; – S’; P; R |
| Aaroh | S R g m P d n S’ |
| Avroh | S’ d n P m P g m R S |
| Pakad | S R g (R)g ; m P d (P)d n P ; n m P S ; S’ (n)d n P m P (m)g m R S ; d,n,S |
Practise tips for Raag Darbari
With the above table , we understood the structure of the raag theoretically. You can refer to the audio below to learn basic swaras and chalan of the raag and a bandish to build a foundation of the raag.
Raag Darbari Bandish
STHAYI
Jo Guru Kripa Kare -2
Kotik Paap Katat Pal Chin Mo -2
ANTARA
Guru Ki Mahima Hari So Bhari -2
Ved Puranan Sab Hi Bichaari
Brahma Vyas Ratat Pal Chin Mo
Ethos of the Raag Darbari
It is believed that this Raag is an illustrious example that can vividly bring out the feeling of love and pathos. The beauty, the poignancy and the depth of the raag can easily be brought out with the notes G M R S. The emotion of love – (to love and to be loved is one of the most important factor that keep us going in life; the nature and universe loves you so that you exist!) – relationships (they bring in love – be it father, mother, wife, children, brother/sister or friends!) and the meaning of life in itself is nothing but to love and to be loved (Life is complete and meaningful only with the ties of these loving relationships!).
At one level, the masculine temper of the raag gives it a majestic touch, at another level, the pathos and the poignancy of the raag evokes a feeling of vairagya, total detachment from worldly pleasures, a mood for meditative solitude or seclusion.
Therapeutic aspect of the Raag Darbari
It has been believed that music has healing power since ancient times. Previous studies have shown music may have a beneficial influence on physical and mental health . The therapeutic effect of this Raag is said to be very effective in easing tension and anxiety. Providing great relief from Headache(Acute), Migraine, Mind Concentration, Grief, Mental Shock and promotes good sleep.
A recent study was set out to investigate students’ psychological Well-being concerning exposure to Raag Darbari Kanada. For the purpose of the study, sixty students of XI-XII standard, comprising both male and female students, from selected schools of Burdwan town of West Bengal were randomly divided into the control group and the experimental group.
The experimental group students were subjected to Well-being Manifestation Measure Scale (WBMMS) after two weeks of exposure to this Raag for 24 minutes each day. The control group students were subjected to no music at all, and WBMMS was applied. After evaluating the results , it may be hypothesized that exposure to this Raag increases students’ psychological well-being.
Related compositions
This raag has been extensively used by North Indian Film Music. There are a plethora of lovely songs in this raag. Some of the songs are so vibrant and typical in melody it becomes your lifestyle progressively. A few common songs are `Ghoonghat ke pat khol re tohe piya milenge’ , `Aapki nazron ne samjha’ , `Tu pyar ka sagar hai’ , `Jiya Jale Jaan Jale ‘ , ` O Duniya ke rakhwale ‘ , etc.
Performance by legends
Pandit Ulhas Kashalkar has mastered the nuances of the Gwalior, Agra and Jaipur khayal gharanas. He alternates long sustained Darbari raag notes with rapid taans (melodic elaborations), often resolving with m g slide, even teasing the boundaries of the raga with touches of shuddha Ni. Here are the links attached of some legendary performances.
Pandit Ulhas Kashalkar (vocal) – the Multi-gharana maestro
Ustad Nishat Khan (Sitar) – a mournful rendition with high ni Sruti
Ustad Irshad Khan (Surbahar) – dominated by heavy, deep-toned bends
Darbari Kanada is regarded as one of the most grand, and profoundly introspective raags in Hindustani Music. Several prominent musicians have even stated that Darbari Kanada is the raag they would choose to sing before passing away! The raag possesses one of the most famous peaks in Hindustani music.
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