Nāyakī Kānaḍā
Serene and inward — a Kānaḍā of stillness rather than splendour.
Attributed to Gopāl Nāyak, this rāga omits Dha in ascent and rests deeply on Ma. Where Darbārī is grand, Nāyakī is contemplative and closely argued around a few phrases.
Ārohaṇa, Avarohaṇa & Pakaḍ
Notation key — komal swaras in lower case, tīvra Ma written M′, mandra saptak marked ˌ and tār saptak with ′.
How the Rāga Moves
The rāga circles the Ma–Pa region. Komal Ni is used both as a resting note and as the gateway to the upper Sa, while komal Ga appears only in descent, in the phrase g M R S. Dha is skipped in ārohaṇa and used sparingly in descent.
Rhythmic Cycles Used
Ā ri ā ri sakhī more
X = sam · 0 = khālī · 2, 3, 4 = tālī · one cell = one mātrā · – = sustain.
The mukhḍā leans on Ma before the sam. Keep the Ga strictly to descent — an ascending Ga pulls the rāga toward Kāfī.