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The vaadi / samavaadi theory is generally discounted by modern musicologists, but for those who are inclined to follow this, Darbaari Kaanadaa has been particularly problematic. Some suggest that ReDha are the vadi and samvadi; however, others suggest that it should be Ga and Dha. and Darbaari Kaanadaa has some interesting musical characteristics. It is a night time rag. It is said to be sampurna - sampurna, but it must be presented in a vakra (twisted) fashion to distinguish it from related rags such as Jaunpuri, Asawari, or Adana. It is especially important to emphasize the lower register (mandra saptak) and the lower tetrachord (i.e., purvang) to distinguish this rag from Adana.
Darbaari Kaanadaa has an interesting approach to its intervals. The minor 3rd (komal Ga) and the minor 6th (komal Dha) are much lower than usually found; this lower than normal flattening is often referred to in Indian music as ati-komal. Therefore, ati-komal Ga is just ever-so-slightly higher than a natural 2nd (shuddha Re) and the ati-komal Dha is just ever so slightly higher than a natural 5th (Pa). It is this extreme alteration of the intervals that helps give Darbaari Kaanadaa its distinctive character.
Amongst many this raag is renditions by Legend and Maestro Pandit Bhimsen Joshi.
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