The Todi Empire - An Introduction
Rajan P. Parrikar
onward peregrinations now bring into view the most profound,
finespun idea in all of melodic music: the toDi rAgAnga. The
encomia heaped earlier on the Bhairav dynasty carry over pari
passu to the Todi clan. As in the case of Bhairav, toDi denotes
a thAT, a rAga and a rAgAnga: all three find a home in the flagship
Raga Todi. From ecstasy to frolic to pathos to bathos to
melancholy, Todi runs the gamut: no manner of sentiment is beyond
its pale. Furthermore, merely 'thinking' in toDi can furnish some of
the delights found in intellectual sport. The rAgAnga is so
fundamental to our music and milieu that it would not
be absurd to speak of a toDi gene in the socio-cultural biology
of India. Throughout this note M=shuddha and m=teevra madhyam.
What, then, constitutes the toDi rAgAnga? To address this we
examine the constituent scale set, which is: S r g m P d N. This
Hindustani toDi scale corresponds to the 45th Karnataka
melakartA Shubhapantuvarali. The rAgAnga rAga goes variously
by Todi, Miyan ki Todi, Shuddha Todi and Darbari Todi.
The kernel of toDi rAgAnga is embedded in the following tonal
cluster: S, r g, g r g, r, S. While this per se is sufficient to
establish
the rAgAnga - assuming correct intonation and punctuation - it is
rendered complete by the dominant role (nyAsa bahutva) assigned
komal dhaivat, a swara employed by most of the important and
expansive toDi prakArs. At the heart of the rAgAnga is the mutual
interaction between the komal rishab and the komal gandhAr: the
two swaras are manifested 'en suite,' one imparting grace to the
other. The movement r-->g with the nyAsa on the gandhAr is
vital and the reverse g-->r lingers on the rishab before its eventual
dissipation on S. The r<-->g interchange accrues as a gradual
transition with one swara evolving into the other: this precipitates
the toDi-effect, a palpable uneasy sensation. There will be
occasions aplenty in the associated sound clips to sample the
toDi-effect.
The outstanding features of Raga Todi are now encapsulated:
1) S, r g, g r, S - rAgAnga signature, nyAsa on the gandhAr,
bright rishab.
2) g m d, N d, d m g r, g, r S - nyAsa bahutva on dhaivat, langhan
alpatva of the pancham (i.e. skipped).
3) S r g m P, P m d, d N d, P, dmgr, g - the pancham comes in two
flavours; here we see it in the nyAsa role. The proportion and manner
of attack on P show variation across gharAnA borders. Some prefer
a liberal use, others use it as a repose location to release tension
after
an uutarAnga foray. The madhyam and nishAd are always at hand
but subordinate to the other swaras. Occasionally, the nishAd may
be brightened for effect, especially in the mandra saptaka. Often it
is skipped (langhan alpatva) en route to the tAr shaDja: d, d S" etc.
The shaDaj too is sometimes found in langhan alpatva mode as
in: N' r g.
This concludes the overture. Oh, one more issue - in Raga Gurjari
Todi the pancham is eliminated but the gestures plied are similar to
those in Todi. Some few attempt to introduce additional artifacts to
distinguish it from Todi, for instance, by an increased presence for
the komal rishab and so on. In this note Ragas Todi and Gurjari
Todi will be bundled together for purposes of discussion and
demonstration.
It is now time for some close encounters. As is the custom we
kick-off with a user-friendly suite of 'light' pieces. They are called
'light' but there is nothing light about them. M.S. Subbalakshmi's
chanting of Adi Shankara's stotras sets the ball rolling. The verses
are tuned by Kadayanallur Venkataraman -
http://www.parrikar.prohosting.com/todi/mss_todi.ram
Todi has flourished in Gurbani's employ. A shabad recital in
the voices of Ajit Kaur and Co, tuned by K.S. Narula: "mAngo
dAna ThAkura nAma" -
http://www.parrikar.prohosting.com/todi/gurbani.ram
Basavraj Rajguru's self-tuned rendition of a Basavanna vacanA
in kannaDA: "mADi mADi" -
http://www.parrikar.prohosting.com/todi/vacana.ram
Lata Mangeshkar was born with extraordinary gifts. Her penchant
for Todi-like rAgas will be abundantly clear as we move along. This
one is the popular Meerabai bhajan "nanda nandana " tuned by
Hridaynath Mangeshkar -
http://www.parrikar.prohosting.com/todi/lata_meerabhajan.ram
A Tukaram abhanga in Marathi - "AgA karuNAkarA" - Lata's voice,
Shrinivas Khale's music -
http://www.parrikar.prohosting.com/todi/lata_abhang.ram
We come to the film module. BAIJU BAWRA (1953, Naushad,
Shakeel) carried a Mohammad Rafi Todi number: "insAn bano" -
http://www.parrikar.prohosting.com/todi/baijubawra.ram
Sardul Kwatra, a denizen of the Bay Area of San Francisco these
days, is the tunesmith for this Lata muffin from PILPILI SAHAB
(1954): "jaba tum hi hame" -
http://www.parrikar.prohosting.com/todi/pilpilisahab.ram
The Roshan and Sahir Ludhianvi combine brought to the table
immense talentpower. This masterpiece was rolled out for
TAJMAHAL (1963), again with the ubiquitous Lata: "kHudA-e-bartar" -
http://www.parrikar.prohosting.com/todi/tajmahal.ram
Manna Dey, Laxmikant-Pyarelal and Bharat Vyas pool in for this
SANT GYANESHWAR (1964) number: "jAgo re prabhAt AyA" -
http://www.parrikar.prohosting.com/todi/santgyaneshwar.ram
Another baton awash in classical music was Vasant Desai. From
AASHIRWAD (1968), Gulzar's lyrics are delivered by Lata:
"ek thA bachpan" -
http://www.parrikar.prohosting.com/todi/aashirwad.ram
The 1971 musical bonanza AMAR PREM had some classics,
among them this quasi-Todi creation by R.D. Burman for Lata. The
effortless forays in and out of Todi are ingeniously conceived:
"rainA beete jAye" -
http://www.parrikar.prohosting.com/todi/amarprem.ram
When Lata refused to sing for MEERA several composers backed
off and Gulzar found himself knocking on Ravi Shankar's door. The
maestro pulled G's chestnuts out of the fire in a trice. The orchestral
prelude to this Meerabai bhajan by Vani Jairam is hauntingly
beautiful: "eri maiN to prem diwAni" -
http://www.parrikar.prohosting.com/todi/meera.ram
We now present a rare recording of a rare composition in a rare
Todi prakAr, a specialty of the rare Khandwa gharAnA. The
kHalifA of the gharAnA, Kishore Kumar, was unanimously held
up in the cosmos as the greatest singer of all time. He is captured
in a rare tAleem session in R.D. Burman's studio -
http://www.parrikar.prohosting.com/todi/lava.ram
Lata and Hridaynath Mangeshkar renew a well-known "Sadarang"
bandish in LEKIN.Their treatment is in Gurjari but the bandish is
also sung as a vilambit Todi: "jA re jA pathikavA" -
http://www.parrikar.prohosting.com/todi/lekin_gurjaritodi.ram
A jaunt down Noorjahan's nostalgic alley. Composer: Khurshid
Anwar: "jis din se piyA" -
http://www.parrikar.prohosting.com/todi/noorjahan.ram
A gHazal in Todi by Mohammad Rafi: lyrics by Jigar Moradabadi,
music by Taj Ahmad Khan: "sAqi ki har nigAh pe" -
http://www.parrikar.prohosting.com/todi/rafi_ghazal.ram
This completes the first round. We will be back after this short
break -
http://www.parrikar.prohosting.com/todi/jingle.ram
A few of you have probably survived that orgy of giggles. I myself
escaped with a few scratches on my double helix. Indian women,
please don't giggle like this.
Sir Vish Krishnan's consultation and assistance in the above
compilation are gratefully appreciated.
Raga Todi (and Gurjari Todi)
----------------------------
In this segment we venture into more serious territory with an
entree of Todi/Gurjari Todi pickings. The courses following
feature many important toDi prakArs with brief discussions.
Each audio selection here has something special to say or a
nook to illuminate.
The deep sonorous tones and meenDs of Zia Mohiuddin Dagar's
rudra veeNA summon a magisterial Todi ambience. The label
Shuddha Todi is a facade for the standard Hindustani Todi
(Shuddha Todi is an entirely different construct in the Karnataka
paddhati). This clip resoundingly (pun intended) reveals Todi
for the extraordinary aubade that it is -
http://www.parrikar.prohosting.com/todi/zmdagar.ram
Asad Ali Khan is the most distinguished exponent of the rudra
veeNA. He works up another equally affective scenario -
http://www.parrikar.prohosting.com/todi/asadalikhan.ram
The dhrupadiyas revel in Todi, there are several traditional
dhrupad-dhamArs. Tansen Pande (1908-1963), son of Alla Bande
Khan ('father' of the Dagar family) started out as Hussainuddin
Dagar but in the 1940s he returned to the Hindu fold as Tansen
Pande (the Dagars were Pandes to begin with). He was regarded
as the signal dhrupadiya of his time. This is an old recording -
http://www.parrikar.prohosting.com/todi/tansenpande.ram
The Darbhanga region of Bihar was once a dhrupad hotbed. Here
Ram Chatur Mallick showcases some of the surviving glory -
http://www.parrikar.prohosting.com/todi/ramchaturmallick.ram
Another Bihari, also from Darbhanga, is Ramashreya Jha "Ramrang,"
the preeminent living Hindustani vAggeyekAra. There is a wealth of
traditional kHayAls in Todi. Jha-sahab sketches an outline of the
vilambit "Sadarang" composition "daiyyA baTa doobara bhayi."
Notice the placement of the sam on the pancham -
http://www.parrikar.prohosting.com/todi/jha_todi_vil.ram
Jha-sahab's lament about the violence done to the lyrics finds proof
as Bhimsen Joshi is found flagrante delicto, amusingly enough with
the same bandish. Bhimsen, of course, has mastered Todi as few
others have. This from a live concert recording -
http://www.parrikar.prohosting.com/todi/bhimsen.ram
A splendid treatment of the traditional kHayAl, "bAjo re" by
Gangubai Hangal -
http://www.parrikar.prohosting.com/todi/gangubai.ram
I just saw a post here on RMIC referring to some fella as a Gwalior
"stalwart." I am in agreement only 50% (the part about "wart"). For
100% agreement we must look elsewhere, to Krishnarao Shankar
Pandit. The bandish is a Gwalior staple: "lAla manAvana" -
http://www.parrikar.prohosting.com/todi/krsp.ram
Speaking of Gwalior stalwarts, D.V. Paluskar's name also comes to
mind. He sings a vilambit bandish of "Manrang" - "aba more Rama" -
and then a delightful druta ektAla -
http://www.parrikar.prohosting.com/todi/paluskar_todi.ram
Another vilambit effort by the dependable Salamat Ali -
http://www.parrikar.prohosting.com/todi/salamat.ram
A recent classic in Todi is Kishori Amonkar's release of a full-length
concert. A snapshot of that recording -
http://www.parrikar.prohosting.com/todi/kishori.ram
The remaining vocal clips are druta cheez renditions mostly by the
high and mighty. Ramashreya Jha "Ramrang" has composed a most
beautiful bandish to Saraswati. We hear it in the voice of
Nachiketa Sharma -
Composer: Ramashreya Jha "Ramrang":
tanaka hero hamari ora Saraswati mAta
dayAni sakala sukha dAni Sharade
saphala sAdhanA keeje leeje sudha
'rAmrang' tere dwAra paryo
tAla tAna swara de ri mAN Sharade
http://www.parrikar.prohosting.com/todi/nachiketa_todi.ram
Jha-sahab himself quickly runs through his busy cheez in Gurjari
Todi -
http://www.parrikar.prohosting.com/todi/jha_gurjaritodi_druta.ram
Yet another 100% Gwalior stalwart was Ramkrishnabuwa Vaze,
trained by Nissar Hussain Khan of Gwalior (not to be confused
with the current Rampur vocalist) and Shankarrao Pandit (KRSP's
father). He was a perpetual seeker and travelled all over India in
search of music and compositions. Of mercurial temperament stories
of Vazebuwa's eccentricities are legion. The following recording is
a recent release and although he was wary of putting pen to paper
the bandish finds a spot in his publication: "masalata puccha
diyA tusA" -
http://www.parrikar.prohosting.com/todi/vazebuwa.ram
The Atrauli-Jaipur statement of Todi in the form of its most
accomplished representative, Kesarbai Kerkar of Goa -
http://www.parrikar.prohosting.com/todi/kesarbai.ram
There is a recent T-Series release of Bade Ghulam Ali Khan's
"Allah jAne mAulA jAne." He is unusually subdued there, the
recording was made in his failing years. The blitzkrieg in Gurjari
Todi recorded in healthier times is more representative of
Ghulam Ali's peremptory gAyaki: "bhor bhayi" -
http://www.parrikar.prohosting.com/todi/bgak.ram
A live concert recording by Jitendra Abhiskehi of the famous
Gurjari cheez of "Manrang": "chalo sakhi sautana ke ghara" -
http://www.parrikar.prohosting.com/todi/abhisheki_gurjaritodi.ram
Now for some instrumental offerings. First, an old vichitra veeNA
recording of Habib Ali Khan -
http://www.parrikar.prohosting.com/todi/habibali.ram
In the realm of swara Bismillah Khan has no equal among
instrumentalists. Incidently, Bismillah's tap-tap style in the final
druta momemts is, he admits, an adaptation from the harmonium
whiz of old times, Bhaiya Ganpatrao of Gwalior. He slips into
the Todi groove right away -
http://www.parrikar.prohosting.com/todi/bismillah.ram
A snatch of Nikhil Banerjee's sitAr -
http://www.parrikar.prohosting.com/todi/nikhilbanerjee.ram
Ali Akbar Khan serves up a dhamAr. On the tabla is Mahapurush
Mishra -
http://www.parrikar.prohosting.com/todi/aak_todi.ram
Back into the vocal stream, we have the last 100% Gwalior
stalwart: Omkarnath Thakur. The cheez is the well-known
"garavA maisana lAgi" -
http://www.parrikar.prohosting.com/todi/omkarnath.ram
Abdul Karim Khan's rendition of the "Saraspiya" composition in
Gurjari is a mini-classic: "beguna guna gA'iye" -
http://www.parrikar.prohosting.com/todi/akk.ram
Sawai Gandharva follows in his guru's footsteps. We see where he
gets his swara-lagAv from. The bandish is "samajha mana
Gorakha-dhandhA" -
http://www.parrikar.prohosting.com/todi/sawai.ram
Hirabai Barodekar rounds up the Kirana contribution with the
traditional "kAkariyA jina mAro" -
http://www.parrikar.prohosting.com/todi/hirabai.ram
Azmat Hussain Khan's background spanned both the Atrauli
and Agra schools. He was an influential teacher and
composer ("Dilrang"). This is from an old recording at the
Goa Kala Academy -
http://www.parrikar.prohosting.com/todi/azmat.ram
We let Agra's Latafat Hussain Khan have the last word in Todi -
http://www.parrikar.prohosting.com/todi/latafat_todi.ram
Some well-known bandishes have been missed above (e.g. Tanras
Khan's "aba mori naiyyA pAra karo re"). We now move to some
of the important toDi-prakArs.
Raga Bhoopala or Bhoopal Todi
-----------------------------
The chief pentatonic candidate of the Todi thAT (there is Chhaya
Todi (S r g m d) but it is rarely performed). Bhoopala is scalewise
identical to its Karnataka counterpart: S r g P d.
M.S. Subbalakshmi's chanting of Adi Shankara's stotras is
suffused with indescribable beauty -
http://www.parrikar.prohosting.com/todi/mss_bhoopaltodi.ram
A delectable druta ektAla composition of Jha-sahab: "lAge nAhiN re
manuvA" -
http://www.parrikar.prohosting.com/todi/jha_bhoopaltodi_druta.ram
Basavraj Rajguru's treatment of this "Gunidas" roopaka
bandish "naiyyA utAri pAr" is solid -
http://www.parrikar.prohosting.com/todi/rajguru_bhoopaltodi.ram
To conclude the Bhoopala suite, Ali Akbar Khan's gat set to
upatAla of 8.5 mAtrAs -
http://www.parrikar.prohosting.com/todi/aak_bhoopaltodi.ram
Raga Saheli Todi
----------------
A conception of Kumar Gandharva; here Bhoopal Todi is extended
by stringing a komal nishAd in vakra prayogas. An Avirbhava of
Bilaskhani Todi occasionally obtains -
http://www.parrikar.prohosting.com/todi/kg_sahelitodi.ram
Raga Bilaskhani Todi
--------------------
Bilaskhani Todi is among the very great rAgas. To scrape an
acquaintance with this melody is to come touchably close to
the sublime in music. It is profoundly original in conception,
a musical minefield difficult to tread on and execute. Its
complexity is understated, often downplayed by the ready
emotional purchase offered to the rasika. The nuances are
not amenable to the written word. The Aroha/avaroha set
may be stated as:
S r g P d S"::S", r" n d, P, d n d M g, r g r S
The swaras of B-Todi nominally belong to the Bhairavi thAT
but its structure is wholly fortified by the rAgAnga of toDi.
Care has to be taken to steer clear of Bhairavi's demesne for
that would signal instant death for Bilaskhani. The madhyam
is acknowledged gingerly in ascent, and the tonal thought
typically prefaced or concluded by a toDi-rAgAnga phrase.
The manouvre shorts any incipient Bhairavi aspirations. An
example of M-usage is: r n' S r g, (g)r g M, M (r)g r, S. Note
the manner of skipping (langhan) of the shaDja.
The pancham is an important nyAsa-sthAna for the swara traffic
in both directions. The madhyam is necessarily cold-shouldered in
ascent en route to the pancham and the dhaivat, viz., S r g P or
S r g P d, but is deployed in descent, where it is the pancham's
turn to be spurned: d n d M g r, g. It is this skipping of madhyam
in ascent and of the pancham in retreat that forms the Achilles heel
of Bilaskhani, and which when violated contaminates the rAga.
The komal nishAd is used as either a cushion by the
dhaivat (d n d M) or as an anuvAdi swara
(r n' S r g; r" n d M g r S). MeenDs are the lifeblood of
Bilaskhani Todi, they can be sensed easily in the recordings.
We have a few samplers of Bilaskhani lined up. The clip from
LEKIN begins with a recitation of the definitive Bilaskhani
kHayAlof "Sadarang," "neekeghungariyA" by Satyasheel
Deshpande. Asha Bhonsle then takes charge with an adaptation
of S.N. Ratanjankar's bandish "vahi jA'o jA'o" set to the
lyrics "jhooThe nainA" -
http://www.parrikar.prohosting.com/todi/lekin_bilaskhanitodi.ram
Malini Rajurkar provides a comparsion to the above with
Ratanjankar's bandish. Alas, she is such tearing hurry that all
nuance of verse and melody is smothered -
http://www.parrikar.prohosting.com/todi/rajurkar.ram
Incidently, Ratanjankar himself has set this tune to two lyrics.
Jha-sahab's double header concludes with his delightful druta
cheez "jagagambikA ambikA" -
http://www.parrikar.prohosting.com/todi/jha_bilaskhanitodi_vil.ram
http://www.parrikar.prohosting.com/todi/jha_bilaskhanitodi_druta.ram
Jitendra Abhisheki's earliest recordings features a splendid innings
in Bilaskhani. The druta composition is due to C.R. Vyas, "taja re
abhimAna" -
http://www.parrikar.prohosting.com/todi/abhisheki_bilaskhanitodi.ram
We come to the final Bilaskhani exhibit. A masterful presentation of
Amir Khan from a live concert in Delhi in the early 1960s -
http://www.parrikar.prohosting.com/todi/amirkhan_bilaskhanitodi.ram
Raga Asavari Todi
-----------------
Also known as Komal Rishab Asavari. The AsAvari-anga dominates
but there is a subtle presence of the toDi rAgAnga. The set of notes
is identical to Bilaskhani Todi yet the rAga-chAritra is completely
different. A few schools use both the rishabs (eg. Allauddin Khan
of Maihar) and there's the allied Raga Gandhari to watch out for.
The following clip is a live rendition by Amir Khan. It is hard to
come away untouched by this manner of artistry -
http://www.parrikar.prohosting.com/todi/amirkhan_asavaritodi.ram
Raga Bahaduri Todi
------------------
The rAga is highly vakra and employs both the rishabs, komal
gandhAr and dhaivat, and the shuddha madhyam. There are two
disparate components tied together by special sanchAris and
meenDs. One is the toDi rAgAnga represented by r g r S, the
other component is supplied by Raga Desi.
This is an exceedingly beautiful rAga, known for its melodic
integrity despite its vakra architecture. There are two principal
versions of Bahaduri Todi of which one is discussed here. The
rAga bears no kinship to the Karnataka Bahudari. The essential
idea in Bahaduri is to start out by developing certain features of
Desi in the poorvAnga and then terminate them with the toDi
tonal sentence. The shuddha rishab is equipped in peculiar
fashion: S R g (S)R g - note that the second time it is graced
with the shaDaj. The gandhAr figures in two modes - desi and
toDi. The madhyam is approached from the gandhAr and
dwelt upon; it is skipped (langhan) en route to the pancham.
The komal dhaivat is caressed via komal nishAd. A heuristic
chalan best illustrates these points:
S, R n' S R G (S)R g (desi specialized); g R g M (nyAsa on
madhyam, special prayoga); (M)g (M)g P (approach to the
pancham); P, (n)d (n)d (ati-komal dhaivat caressed via n),
(n)d (n)d S" (tAra Sa approach, nishAd skipped);
r" n d M (special meenD); P (g)R g (desi);
RgM, M g r g r S (end with toDi).
Let us now see the rAga through the eyes of two masters of
their chosen metier. One is lakshaNA oriented and a peerless
vAggeyakAra, the other a performer the likes of whom don't
come by often. The first two are compositions of Ramashreya
Jha "Ramrang" in his own voice. They quickly lay bare the
rAga-chAritra -
http://www.parrikar.prohosting.com/todi/jha_bahaduritodi_vil.ram
http://www.parrikar.prohosting.com/todi/jha_bahaduritodi_druta.ram
And now, Mallikarjun Mansur's tour de force. This is from a
1968 recording when he was at the peak of his powers. Observe
the special nature of tAns deployed and the breathtaking dexterity
with which he negotiates the tightropes snaking through. The tAns
are distinguished for their double, triple, and quadruple note
clusters, gamakas and safAie in execution. This is directed,
controlled virtuosity. At the end of it all, the rAga emerges
unscathed and effulgent.
http://www.parrikar.prohosting.com/todi/mm_bahaduritodi.ram
Raga Ahiri Todi
---------------
Its provenance is the 10th melakartA Natakapriya (nATakapriyA):
S r g M P D n. A little consideration shows that this scale can be
generated by an appropriate murchhAnA/grAha bhedam on
Charukeshi (take the "new" Sa to be the pancham of Charukeshi).
The rAga is assigned a toDi-anga via an appropriate Andolan
about r g. The name provides a clue to its Ahir Bhairav antecedents.
Ravi Shankar has eliminated the pancham from the parent scale
to abstract a beautiful melody called Parmeshwari.
Two outstanding Ahiri Todi compositions of Jha-sahab are suggested -
chhorA ahira ko jAne kahAN eri
beera hama birahana ke hiya ki
preeta lagA'i kubari doobari sanga
'rAmrang' kauna bulAve banwAri be-peera ko
http://www.parrikar.prohosting.com/todi/jha_ahiritodi_vil.ram
tero gyAna dhyAna sikha bhAve nA
mere mana to ramey Hari charaNana me
gyAna dhyAna dhAranA na jAne 'rAmrang' mana mero
Hari ke nAma ki lAgi raTana
http://www.parrikar.prohosting.com/todi/jha_ahiritodi_druta.ram
There is a moribund version of Ahiri Todi quite unlike the one
referred to here.
Raga Salagavarali
-----------------
This rAga was conceived by S.N. Ratanjankar and has its roots in
the 46th melakartA ShadvidhmArgini (S r g m P D n). Salagavarali
drops the madhyam altogether. The A/A set may be stated as:
S r g P D n D S"::S" n D P g (P)r g r S. The rAga has been
intelligently implemented by Jeetendra Abisheki in his celebrated
nATyageeta. Watch out for the beautiful injection of a vivAdi dosha
via the teevra madhyam: "ghe'ee chhanda makarand priya hA milind" -
http://www.parrikar.prohosting.com/todi/abhisheki_salagavarali.ram
Ratanjankar's original composition is extremely popular and widely
performed. K.G. Ginde: "sumara sAheb sultAna" -
http://www.parrikar.prohosting.com/todi/ginde_salagavarali.ram
Raga Mangal Gujari
------------------
A relatively new entrant into the Hindustani paramparA. It derives
from melakartA #44, Bhavapriya: S r g m P d n. This sampoorNa
scale is used by the uncommon Hindustani Raga Adarangi Todi.
In Mangal Gujari the pancham is varjya, rendering its scale identical
to the Karnataka Bhavani. Note that the Hindustani Raga Bhavani
is a very different creature, a chatuswara rAga of the Bilawal thAT.
Mangal Gujari resembles Gurjari Todi in its mannerisms with the
proviso that it recruits the komal instead of the shuddha nishAd.
Ragas with komal nishAd and teevra madhyam are scarce in the
Hindustani system. Almost all of the m-n swara combination rAgas
currently in the Hindustani employ - Saraswati, Vachaspati,
Shanmukhapriya, Hemavati etc - are imports from the Karnataka
domain and have not found wide embrace in Hindustani circles;
those that have, have evolved within the system (eg. Madhukauns).
It is hoped this will change. Mangal Gujari's Aroha/avaroha set is:
S r g m d n S"::S n d m g r S. It is seen at once that swara-wise
the allied rAgas may be summarized by:
Gurjari Todi : Miyan ki Todi :: Mangal Gujari : Adarangi Todi
It is expected that Mangal Gujari will present some discomfort to the
Hindustani mind, particularly around the komal nishAd area. There
will be an overpowering desire to step past to the shuddha nishAd;
these problems are subdued with practice, by both the listener and
performer alike.
Jha-sahab burst into Mangal Gujari one afternoon after lunch quite
unexpectedly. Fortunately I had the recorded sitting on my harmonium.
The compositions are first-rate.
http://www.parrikar.prohosting.com/todi/jha_mangalgujari.ram
Raga Khat Todi
--------------
An uncommon variant with both the madhyams, this is mostly sung by
the Atrauli-Jaipur and Agra musicians. In the main body of Todi a
small phrase of Khat is introduced. A leading transitional phrase is
S r, r g , g M. Two Atrauli-Jaipur recordings are offered. It is curious
that the same composition differs in its Khat content. Anandrao
Limaye uses a gMPdn P cluster whereas Mallikarjun Mansur
co-opts R M R P. First Limayebuwa, then Mansur -
http://www.parrikar.prohosting.com/todi/limayebuwa_khattodi.ram
http://www.parrikar.prohosting.com/todi/mm_khattodi.ram
Raga Jaunpuri Todi
------------------
An admixture of both Jaunpuri and Todi, effortlessly assayed by
Mallikarjun Mansur -
http://www.parrikar.prohosting.com/todi/mm_jaunpuritodi.ram
Raga Laxmi Todi
---------------
A traditional Todi prakAr containing all swaras but the teevra
madhyam. There are chhAyAs of Gaud, Asavari, Kafi and of
course, Todi. K.G. Ginde sings a dhamAr composition of
Ratanjankar but is ill at ease -
http://www.parrikar.prohosting.com/todi/ginde_laxmitodi.ram
Jha-sahab's enchanting teentAla composition "Aja hamAri"
quickly scythes to the rAga's core -
http://www.parrikar.prohosting.com/todi/jha_laxmitodi_vil.ram
Raga Hussaini Todi
------------------
Elements of Hussaini Kanada, Asavari are combined with the
toDi anga in this uncommon variety. These are small rAgas
which Jha-sahab likens to chutney in a main meal. A lovely
composition this from Jha-sahab for Sa'i of Shirdi: "tero
samAna Sa'i" -
http://www.parrikar.prohosting.com/todi/jha_hussainitodi_vil.ram
The Agra-Atrauli musicians sing a completely different version of
Hussaini Todi that has no toDi-anga whatsoever. I have a couple
of recordings of Vilayat Hussain Khan and Kaushalya Manjeshwar
singing the bandish "niranjana ki jai" but they are not reproduced here.
Raga Abheri Todi
----------------
Another arcane toDi-prakAr. Chhayas of Asavari, Khamaj
mingle with the toDi-anga. Jha-sahab again with an exquisite
composition: "gunijana gAyiye bajAyiye" -
http://www.parrikar.prohosting.com/todi/jha_abheritodi_druta.ram
Raga Viyogavarali
-----------------
A conception of S.N. Ratanjankar. It belongs to the 9th melakartA
Dhenuka: S r g M P d N. The scale forms a grAha-bhedam pair
with melakartA #56 Shanmukhapriya if its (Dhenuka's) Sa is
translated to the madhyam). In Viyogavarali Ratanjankar has
eliminated the pancham and assigned a toDi-anga.
The A/A set is as follows: S r M d N S"::S" N d M, r g, r, S.
The rAga is very attractive and deserves wider popularity.
Ratanjankar's cheez appropriately refers to viyoga. K.G. Ginde:
"binati yahi na jaiyyo Mathura" -
http://www.parrikar.prohosting.com/todi/ginde_viyogavarali.ram
Raga Suha Todi
--------------
A joD-rAga with elements of Suha with a dash of toDi-anga. Ali Akbar's
gat in jhaptAla -
http://www.parrikar.prohosting.com/todi/aak_suhatodi.ram
Raga Bairagi Todi
-----------------
A relatively recent entrant. The pentatonic version adduced here is
due to Ravi Shankar. Its scale is gotten by replacing the madhyam in
Bairagi with komal gandhAr: S r g P n. Shankar's gat in tAla sADe
gyArAh (11.5 beats) -
http://www.parrikar.prohosting.com/todi/rs_bairagitodi.ram
Ramashreya Jha "Ramrang" has conceived another Bairagi Todi which
injects a dose of toDi rAgAnga into the Bairagi contour. I don't yet
have a recording.
Raga Niranjani Todi
-------------------
A conception of l'enfant terrible Kishori Amonkar. Elements of Ahir
Bhairav, Bairagi and a Bhinna Shadaj-esque use of shuddha nishAd
are observed. I don't have the girl's recording and we will have to
make do faute de mieux with Raghunandan Panshikar -
http://www.parrikar.prohosting.com/todi/panshikar.ram
Several other traditional toDis exist, many only in name without any
toDi-anga to recommend them (eg. Lachari Todi, Desi Todi,
Gowardhani Todi, Anjani Todi and so on). Bhatkhande also cites
other prakArs, most of them out of fashion: Marga Todi, Mudriki
Todi, Zeelaf Todi, Kafi Todi and so on. It is hoped that this brief
treatment will serve as a spur for further exploration of the noble
and sublime locales of the Todi empire.
Warm regards,
r
.
maha...@my-deja.com
Regards,
Maha
Sent via Deja.com http://www.deja.com/
Before you buy.
Keith Erskine
: The outstanding features of Raga Todi are now encapsulated:
: 3) S r g m P, P m d, d N d, P, dmgr, g - the pancham comes in two
: flavours; here we see it in the nyAsa role. The proportion and manner
: of attack on P show variation across gharAnA borders. Some prefer
: a liberal use, others use it as a repose location to release tension
: after an uutarAnga foray.
Thanks for the fine exposition to Todi, Rajan.
The only thing I don't see explicitly mentioned is that Pa is omitted in
the ascent. While the example you show does not *continue* ascending
after Pa, some gharanas do not allow approaching Pa from tivra ma.
A typical arohi/avarohi in this style would be:
S r g m d P, M d N S" - S" N d P m g r S
Keith Erskine
I don't speak for HP.
Rajan P. Parrikar
>
>: 3) S r g m P, P m d, d N d, P, dmgr, g - the pancham comes in two
>: flavours; here we see it in the nyAsa role. The proportion and manner
>: of attack on P show variation across gharAnA borders. Some prefer
>: a liberal use, others use it as a repose location to release tension
>: after an uutarAnga foray.
>
>
>The only thing I don't see explicitly mentioned is that Pa is omitted in
>the ascent. While the example you show does not *continue* ascending
>after Pa, some gharanas do not allow approaching Pa from tivra ma.
It was not explicitly mentioned because while Todi does use the
pancham primarily in the langhan alpatva (skipped) mode most
vocal gharAnAs do not proscribe a direct usage of the m P d type.
In fact, the cluster mPd is put to good use in several dhrupad
and kHayAl bandishes.
In the clip of Z.M. Dagar there is a delectable approach to the
pancham from the direction of the teevra madhyam, which goes
past P to the komal dhaivat: listen carefully to the movement
beginning immediately after 4:17 minutes.
http://www.parrikar.prohosting.com/todi/zmdagar.ram
Obiter dictum: the mPd cluster is not easy to vocalise in
a quick tAn as you may verify for yourself. Skipping the
pancham makes the flow easier.
Warm regards,
r
ps: The Toad and Todi - A quote from the Banditopanishad (aka
banditji's webpage).
"If you take a close look at the Kangra miniature paintings,
the deer has been a recurring figure in the depiction of the
Todi Ragini. The two are almost inseparable. At the Sankat
Mochan temple in Varanasi, Pandit Jasraj was singing the Todi.
The concert had reached its crescendo when from seemingly
nowhere came a deer bounding in. Cutting through the centre
of the crowd the deer headed straight towards the dais
oblivious of the disturbance it had created within the
mesmerised audience. Pandit Jasraj reached the climax of
the rendition and opened his eyes to behold the messenger
of God and a smile played on his lips for only he had
understood the message."
S Suresh
In the Karnatic tradition, the song 'sri satyanarayanam' remains
one of the most famous composition in the ragam, Subhapanthuvarali.
To me the best recording is the one by Semmangudi Sreenivasa Iyer.
He sings and excellent alapana and after the krithi some terrific
kalpanaswaras. There also exists an old recording of D K Pattammal.
Needless to say, it is a very high quality rendition.
Tyagaraja has a composition in Subhapanthuvarali, which goes 'ennaaLu
oorake'. M S Subbalakshmi has rendered this song in the 4-tape AIR
release by HMV. T N Seshagopalan also has a recording of this song.
Warm Regards,
S.Suresh
Sridhar Gopalakrishna
S Suresh <sure...@sequent.com> wrote in message
news:8hi95a$c...@scel.sequent.com...
I agree that Muthuswami Dikshitar's Sri Satyanarayanam is truly a
masterpiece in this raga. Dikshitar - the master at incorporating
beautiful elements of seemingly different musical traditions - has embodied
Todi of the Hindustani style very well in this kriti.
Another recording of this kriti worth mention is that by flutist B.N.
Suresh - a very haunting 45 min rendering where he pushes the limits in
kalpana-swara passages.
Thyagaraja's kriti in Shubhapanthuvarali "Ennallu-urake' Yunduvo Joothaamu"
seems somewhat of a misfit - in my mind at least. Phrasings are very
linear - almost along the lines of Panthuvarali (aka Kamavardhini). After
seing a footnote in Sri TK Govinda Rao's book where the raga was mentioned
alternatively as 'Panthuvarali', I tried to play the kriti in that raga, and
things did
not seem much amiss. Can someone shed light on which raga is historically
appropriate for this kriti?
Regards,
Sridhar
Srikanth Gopalan
version of the Krithi. MLV does a good job too.
Bossk (R)
>
> http://www.parrikar.prohosting.com/todi/nikhilbanerjee.ram
Wow!! Where is that from?
--- Bossk (R) <wik...@mbox301.swipnet.se>
ChristianAMR
S r g P D
ChristianAMR
https://www.youtube.com/watch?v=u8hK7QUG0lA - A She
From vid :
" Known as Hatakāngi in the Carnatic system of music.
Changing shudh gandhar to komal gandhar in Raag Marwa. "
ChristianAMR
ChristianAMR
2 prakars :
_ The most common one , with shu Re , is based on Desi rather than Todi .
M Asanare has a vid with an explanation . ( typical phrase connecting it to Hussaini Kanada )
- The 2nd one , with kom re and Todi ang ( Pt Jha ) , has already been outlined in the first post .
It has been taken up by Ab. She.
https://www.youtube.com/watch?v=juHSCwI8-cw