Raga Sughrai Kanada, Khayal Madhyalay Teen Taal

"Raga Sughrai Kanada, Khayal Madhyalay Teen Taal" is a Hindustani classical vocal recording by Mallikarjun Mansur. The performance features a khayal composition in the raga Sughrai Kanada, set to a medium-tempo (madhyalay) 16-beat cycle known as Teen Taal. Mallikarjun Mansur, a prominent vocalist of the Jaipur-Atrauli gharana, delivers the rendition with characteristic ornamentation and melodic elaboration. The recording captures the essence of the raga through alap, bol alap, and taan passages, showcasing Mansur's mastery of the genre.

The track has a duration of 14 minutes and 42 seconds. The release year and label for this specific recording are not documented in available sources. Sughrai Kanada is a rare and complex raga, derived from the Kanada family, known for its somber and introspective mood. Mansur's interpretation adheres to the traditional structure of khayal, beginning with a slow, meditative exploration of the raga (vilambit) before transitioning into the faster-paced (drut) section. The composition highlights the interplay between the vocalist and the accompanying instruments, typically including the tabla and harmonium or sarangi.

Mallikarjun Mansur (1910–1992) was a celebrated exponent of Hindustani classical music, recognized for his deep understanding of ragas and his ability to convey emotional depth through his performances. His renditions of rare and intricate ragas, such as Sughrai Kanada, are considered definitive by scholars and listeners. This recording remains a reference for students and connoisseurs of the Jaipur-Atrauli tradition, illustrating the gharana's emphasis on precise intonation, intricate taans, and expressive gamak.

The primary format of this recording is audio, though specific details about the medium (e.g., vinyl, cassette, or digital) are not available. The performance is likely part of a larger collection of Mansur's khayal recordings, though standalone releases of this track may exist. Notable features include Mansur's use of meend (glissando) and gamak (oscillations) to emphasize the raga's characteristic phrases, as well as his interaction with the tabla player to maintain rhythmic complexity. The recording serves as an important document of the Jaipur-Atrauli gharana's stylistic approach to khayal.