Raga
Adana
Thaat
Vadi
Samvadi
Aroha
Avaroha
Time
Pakad
Description
Raga Adana is a significant Indian classical raga that is part of the Asawari family. It is often associated with the Kafi family due to its use of the shuddh Dhaivat note, a characteristic that remains prominent in various musical traditions, including Haveli Sangeet.
Key Features
Vadi and Samvadi: The primary (Vadi) note of Raga Adana is Sa, while the secondary (Samvadi) note is Pa.
Aaroh and Avaroh: The ascending scale (Aaroh) typically follows the pattern S R m P d n S', while the descending scale (Avaroh) is S' n P m g m R S. Notably, the komal Gandhar (flat third) is omitted in the ascent but can be used in descent, particularly in the Kanada phrase g m R S124.
Mood and Tempo: Raga Adana evokes a devotional and playful mood, often performed at a fast tempo. It is primarily rendered during late night hours, specifically between midnight and 3 AM23.
Distinctive Characteristics: Unlike its close relative Raga Darbari Kanada, which features deeper notes and more pronounced oscillations, Adana avoids excessive meend (gliding between notes) and gamak (ornamentation). The komal Nishad in the ascending scale is also set at a higher frequency than usual14.
Historical Context
Raga Adana has historical roots dating back to the 17th century and was previously known as Āḍḍānā. It has evolved over time, reflecting influences from other ragas like Malhar and Kanada. In artistic representations, it has been depicted as an ascetic figure associated with love2.
Notable Performances
Prominent musicians have rendered Raga Adana in various formats, including Khayal and light classical music. Noteworthy performances include those by Pandit Jasraj and Jayateerth Mevundi, who have highlighted its intricate nuances and emotional depth during live concerts56.
Film Adaptations
Raga Adana has also found its way into Indian cinema, with several songs composed in this raga. Some notable examples include:
"Manmohan Man Mein Ho Tumhi" from Kaise Kahoon
"Jhanak Jhanak Paayal Baaje" from Jhanak Jhanak Payal Baaje
"Ai Dil Mujhe Aisi Jagah Le Chal" from Arzoo (1950)2.
In summary, Raga Adana is a vibrant and expressive raga that continues to captivate audiences with its rich history and emotional resonance in both classical and contemporary contexts.
Citations:
Raga Adana and Raga Darbari Kanada are both prominent ragas within the Indian classical music tradition, but they differ significantly in structure, mood, and performance style
Key Differences
Structure: Raga Adana is characterized by its simpler and more straightforward melodic flow, allowing for faster passages. In contrast, Raga Darbari Kanada has a more complex structure with a deeper emotional resonance, often requiring slower renditions to fully convey its gravitas12.
Use of Notes: In Adana, the komal Gandhar is not used in the ascent but can appear in descent. Conversely, Darbari Kanada prominently features the komal Gandhar, which is crucial for its identity23.
Mood and Emotion: Adana evokes a playful and devotional mood, making it suitable for lighter compositions. In contrast, Darbari Kanada is known for its serious and profound emotional depth, often associated with themes of longing and introspection45.
Performance Context: Adana is typically performed at a faster tempo and is more dynamic, while Darbari Kanada is usually rendered slowly to allow intricate ornamentation and emotional expression27.
Overall, while both ragas share a common heritage within the Asavari thaat, their distinct characteristics make them unique in their own right, appealing to different moods and contexts within Indian classical music.