Monday, June 26, 2000
The Empire of Todi
Rajan P. ParrikarRajan P. Parrikar is a
recognized expert on Indian Classical music and shares his knowledge freely
with those interested in the subject.
He has written a series of articles on Classical Indian Music some of which
have been archived on Sawf.
Click here to read Rajan's earlier
articles. |
 |
Namashkar.
With the heights of the Bhairav terrain scaled our
onward peregrinations now bring into view the most profound,
finespun idea in melodic music: Raganga Todi. The
encomia splurged 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 and all the three converge in the expansive
Raga Todi. From ecstasy to frolic to pathos to bathos to
melancholy - the prism of Todi has the capacity to refract every conceivable
human emotion. To renew Todi in the portals of the mind is to
know and experience the delights of intellectual sport. The
Raganga is so fundamental to our musical milieu that it would
not be absurd to speak of a "Todi gene" in the socio-cultural
biology of India.
Let M = shuddha
and m = teevra madhyam.
Raganga Todi
We begin with an inquiry into the Todi Raganga. The scale of
the Todi thAT corresponds to the 45th Carnatic
melakartA Shubhapantuvarali: S r g m P d N.
The Raganga Raga Todi is known variously as Miyan ki Todi, Shuddha Todi and
Darbari Todi.
The kernel of Raganga Todi is embodied in the following
tonal strip:
S, r, r<->g, g, r, S
This poorvAnga-based prayoga contains the heart of Raganga Todi and
is sufficient to establish the Raganga. Additionally, a
strong (nyAsa bahutva) komal dhaivat in the uttarAnga rounds off the overall
Raganga
picture. The ucchAraNa (intonation and punctuation) of the intimate
interaction
between r and g
is
critical else Todi would be dead on arrival. These two swaras are manifested
'en suite,'
establishing, so to speak, a symbiotic relationship within the local melodic
ecosystem,
mutually imparting and receiving kaNs. The movement r->g with a 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 and
precipitates the 'Todi effect', a palpable uneasy sensation. The
Todi anga and its ucchAraNa are beautifully illustrated by Pandit
Ramashreya Jha "Ramrang" -
http://www.sawf.org/audio/todi/jha_todianga.ram
The features of Raga Todi are now summarized:
S, r<->g, g r, S
This represents the Raganga signature.
g m d, N d, d m g r, g, r S
This movement highlights the nyAsa bahutva dhaivat and the langhan
alpatva (skipped) nature of the pancham.
S r g m P, P m d, d N d, P, dmgr, g
Here the pancham is shown as a nyAsa swara. The specific treatment accorded
P is a function of the performer's background
and taste. Some prefer a liberal use, others use it as a
repose location in avarohi prayogas only to release tension following an
uttarAnga foray. The madhyam and nishAd are always at hand
but subordinate to the other swaras. The nishAd is sometimes brightened
(deergha),
especially in the mandra saptaka, and occasionally skipped (langhan alpatva) en
route
to the tAr shaDja: d, d S".
In Gurjari Todi, the pancham is eliminated but the overall conduct hews
to the Todi line. Some musicians suggest additional artifacts to
distinguish it from Todi such as a stronger role for the
komal rishab. In this article, Ragas Todi and Gurjari
Todi will be bundled together for purposes of discussion and
demonstration.
This completes our overture. We have illuminated the central features and
dispensed with the supporting details for there is only so much that can be
effectively
conveyed with the written word. The rasika will find a cornucopia of useful
material in the audio banquet with which to probe further and strengthen her
understanding.
We kick-off with a user-friendly suite of 'light' pieces. They
are called 'light' but there is nothing light about them.
M.S. Subbulakshmi's chanting of Adi Shankara's stotras sets the
ball rolling. The verses are tuned by Kadayanallur Venkataraman -
http://www.sawf.org/audio/todi/mss_todi.ram
The shabads in the Gurbani have an affinity for Todi. This one in
the voices of Ajit Kaur and Co is tuned by K.S. Narula: mAngo
dAna ThAkura nAma -
http://www.sawf.org/audio/todi/gurbani.ram
Basavraj Rajguru's self-tuned rendition of Basavanna's Vacana: mADi mADi
-
http://www.sawf.org/audio/todi/vacana.ram
Lata Mangeshkar was born with extraordinary gifts, among them an unmatched
felicity
in Todi. Meerabai's bhajan is tuned by Hridaynath Mangeshkar: nanda nandana
-
http://www.sawf.org/audio/todi/lata_meerabhajan.ram
Tukaram's abhanga is set to music by Shrinivas Khale.
Lata Mangeshkar: AgA karuNAkarA -
http://www.sawf.org/audio/todi/lata_abhang.ram
We now unveil the filmi tableau. BAIJU BAWRA (1953, Naushad,
Shakeel Badayuni) carried a Mohammad Rafi number: insAn bano -
http://www.sawf.org/audio/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.sawf.org/audio/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.sawf.org/audio/todi/tajmahal.ram
Manna Dey, Laxmikant-Pyarelal and Bharat Vyas pool in for this
SANT GYANESHWAR (1964) number: jAgo re prabhAt AyA -
http://www.sawf.org/audio/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.sawf.org/audio/todi/aashirwad.ram
The 1971 musical bonanza AMAR PREM had some classics,
among them this quasi-Todi creation of R.D. Burman.
The effortless forays in and out of Todi are ingeniously
conceived. Lata Mangeshkar: rainA beeti jAye -
http://www.sawf.org/audio/todi/amarprem.ram
When Lata refused to sing for MEERA (1979) 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 is haunting. Vani Jairam: eri
maiN to prem diwAni -
http://www.sawf.org/audio/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.
Khandwa's Khalifa, Pandit Kishore Kumar, was unanimously
held up in the cosmos as the greatest singer of all time. Panditji
is captured in a rare tAleem session in R.D. Burman's studio -
http://www.sawf.org/audio/todi/lava.ram
Lata and Hridaynath Mangeshkar divert the well-known Todi bandish
of "Sadarang" towards Gurjari in LEKIN (1991): jA re jA pathikavA -
http://www.sawf.org/audio/todi/lekin_gurjaritodi.ram
A jaunt down Noorjahan's nostalgic alley. The composer is Khurshid Anwar:
jis din se piyA -
http://www.sawf.org/audio/todi/noorjahan.ram
Jigar Moradabadi's Ghazal is tuned by Taj Ahmad Khan. Mohammad Rafi:
sAqi ki har nigAh pe -
http://www.sawf.org/audio/todi/rafi_ghazal.ram
This completes the 'light' round. We will be back after this
short break -
http://www.sawf.org/audio/todi/jingle.ram
Some of you have probably survived that orgy of giggles. I
barely scraped through but not without 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.
Ragas Todi and Gurjari Todi
We have lined up a dazzling array of Todi samplers in this
section. The deep sonorous tones of Zia Mohiuddin Dagar's
Rudra Been summon a magisterial ambience. "Shuddha Todi" is his
façade for the well-worn Hindustani Todi (Shuddha Todi
is an entirely different construct in the Carnatic paddhati).
This clip resoundingly (pun intended) reveals Todi for the
extraordinary aubade that it is -
http://www.sawf.org/audio/todi/zmdagar.ram
Asad Ali Khan, the most distinguished exponent of the Rudra Been
works up another equally arresting scenario -
http://www.sawf.org/audio/todi/asadalikhan.ram
The Dhrupadiyas revel in Todi. Tansen Pande (1908-1963), son of Alla Bande
Khan ('father' of the Dagar family) started out as Hussainuddin
Dagar but in the 1940s returned to the Dharma of his forebears (the Dagars were
Pandes to
begin with). This is an old recording -
http://www.sawf.org/audio/todi/tansenpande.ram
The Darbhanga region of Bihar was once a hive of Dhrupad. Among its
surviving representatives, Ram Chatur Mallick -
http://www.sawf.org/audio/todi/ramchaturmallick.ram
Another Bihari, also from Darbhanga, is Ramashreya Jha "Ramrang,"
the preeminent Hindustani vAggeyakAra and vidwAn. Jha-sahab sketches the
famous vilambit Khayal of "Sadarang" which has
its sam located on the pancham: daiyyA baTa doobara bhayi -
http://www.sawf.org/audio/todi/jha_todi_vil.ram
Jha-sahab's lament about the violence done to the lyrics gains
in credibility as Bhimsen Joshi is found in flagrante delicto, amusingly
enough with the same bandish. Bhimsen, of course, has mastered
Todi like few others have -
http://www.sawf.org/audio/todi/bhimsen.ram
Gangubai Hangal with a traditional Khayal: bAjo re -
http://www.sawf.org/audio/todi/gangubai.ram
I read a posting on rec.music.indian.classical (RMIC) that referred to
a visiting musician as a Gwalior "stalwart." I am in agreement only 50% (the
part about "wart") with this assessment. For 100% agreement we must look
elsewhere, to
Krishnarao Shankar Pandit. The bandish is a Gwalior staple:
lAla manAvana -
http://www.sawf.org/audio/todi/krsp.ram
Speaking of Gwalior stalwarts, D.V. Paluskar's name comes
to mind. He sings the vilambit bandish of "Manrang" - aba more
Rama - and tops it with a sparkling cheez -
http://www.sawf.org/audio/todi/paluskar_todi.ram
Salamat Ali Khan -
http://www.sawf.org/audio/todi/salamat.ram
Kishori Amonkar's recent release is a modern classic. A snapshot of that
recording -
http://www.sawf.org/audio/todi/kishori.ram
The remaining vocal clips are druta renditions by some of the high and
mighty.
Jha-sahab has composed a most beautiful
bandish to Saraswati Devi. We hear it in Nachiketa Sharma's voice -
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.sawf.org/audio/todi/nachiketa_todi.ram
Jha-sahab himself quickly runs through his busy cheez in
Gurjari Todi -
http://www.sawf.org/audio/todi/jha_gurjaritodi_druta.ram
Another certified Gwalior stalwart was Ramkrishnabuwa Vaze,
trained by Nissar Hussain Khan of Gwalior (not to be confused
with the contemporary 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
recording presented is a recent release and although he was wary of
putting pen to paper the bandish does find a spot in his
published work: masalata puccha diyA tusA -
http://www.sawf.org/audio/todi/vazebuwa.ram
The Atrauli-Jaipur statement by its most
distinguished representative, Kesarbai Kerkar of Goa -
http://www.sawf.org/audio/todi/kesarbai.ram
Another extraordinary exponent from the Atrauli-Jaipur camp
presents an old Khayal of "Sadarang." Mallikarjun Mansur: bAjo re -
http://www.sawf.org/audio/todi/mm_todi.ram
Bade Ghulam Ali Khan's recent issue of Allah jAne mAulA jAne does
scant
justice to him. This blitzkrieg in
Gurjari Todi taped in healthier times is more representative
of his peremptory gAyaki: bhor bhayi -
http://www.sawf.org/audio/todi/bgak.ram
A concert recording of Jitendra Abhiskehi amplifies on a
Gurjari cheez of "Manrang": chalo sakhi sautana ke ghara -
http://www.sawf.org/audio/todi/abhisheki_gurjaritodi.ram
We now reach for the instrumental package. First, an old
recording of Habib Ali Khan on the Vichitra Veena -
http://www.sawf.org/audio/todi/habibali.ram
In the realm of swara Bismillah Khan has no equal among
instrumentalists. He slips into the Todi groove in three shakes
of a lamb's tail -
http://www.sawf.org/audio/todi/bismillah.ram
Incidently, Bismillah's tap-tap technique in the final druta moments is, by
his own
admission, an adaptation from the Harmonium whiz of an earlier era, Bhaiyya
Ganpatrao of Gwalior.
Nikhil Banerjee -
http://www.sawf.org/audio/todi/nikhilbanerjee.ram
Ali Akbar Khan serves up a Dhamar supported by Mahapurush
Mishra on the Tabla -
http://www.sawf.org/audio/todi/aak_todi.ram
Back into the vocal stream, Omkarnath Thakur's histrionics come to flower in
this well-known cheez: garavA maisana lAgi -
http://www.sawf.org/audio/todi/omkarnath.ram
Abdul Karim Khan with a composition of "Saraspiya": beguna guna gA'iye
-
http://www.sawf.org/audio/todi/akk.ram
Sawai Gandharva stays true to his guru's swara-lagAv: samajha mana
Gorakha-dhandhA -
http://www.sawf.org/audio/todi/sawai.ram
We conclude the Kirana carnival with Hirabai Barodekar: kAkariyA jina
mAro -
http://www.sawf.org/audio/todi/hirabai.ram
Azmat Hussain Khan's background spanned both the Atrauli
and Agra styles. He was an influential teacher and
composer ("Dilrang"). This is from an old recording at the
Goa Kala Academy -
http://www.sawf.org/audio/todi/azmat.ram
Agra's Latafat Hussain Khan has the last word -
http://www.sawf.org/audio/todi/latafat_todi.ram
That brings us to the end of the Todi montage. A few well-known bandishes
have escaped our dragnet, for instance,
Tanras Khan's aba mori naiyyA pAra karo re. Next, we address several
important
derivates of Todi.
Raga Bhoopala or Bhoopal Todi
The chief pentatonic carrier of the Todi Raganga (Chhaya Todi - S r g m d - is rarely performed), Bhoopala
is scalewise identical to its Carnatic counterpart: S r
g P d.
M.S. Subbalakshmi's chanting of Adi Shankara's stotras is suffused with
indescribable beauty -
http://www.sawf.org/audio/todi/mss_bhoopaltodi.ram
Pandit Ramashreya Jha "Ramrang": lAge nAhiN re manuvA -
http://www.sawf.org/audio/todi/jha_bhoopaltodi_druta.ram
Basavraj Rajguru wields a composition of "Gunidas": naiyyA utAri pAr
-
http://www.sawf.org/audio/todi/rajguru_bhoopaltodi.ram
The final item in the Bhoopala suite: Ali Akbar Khan's gat set to Upatala of
8.5 mAtrAs -
http://www.sawf.org/audio/todi/aak_bhoopaltodi.ram
Raga Saheli Todi
This rAga, conceived by Kumar Gandharva, extends Bhoopal Todi
by stringing an additional komal nishAd in vakra prayogas. An Avirbhava of
Bilaskhani Todi occasionally obtains -
http://www.sawf.org/audio/todi/kg_sahelitodi.ram
Raga Bilaskhani Todi
Bilaskhani Todi is among the very great rAgas and to scrape its
acquaintance 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 from. Its
complexity is understated, often downplayed by the ready
emotional purchase offered to the rasika. It is a meeND-pradhAna rAga
with a fund of nuance scarcely amenable to the written word. We shall
nevertheless
try to convey the vitals. 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 Aroha-avaroha does very little to illuminate the internals.
Although the swaras of Bilaskhani are drawn from the Bhairavi thAT
its structure is wholly defined and fortified by Raganga Todi.
Care must be taken to steer clear of Bhairavi's demesne for
any misstep will spell instant ruin for Bilaskhani. The madhyam
is acknowledged gingerly in ascent, and the tonal thought
typically prefaced or concluded by emphasizing the Todi
Raganga in the poorvAnga region. This manouvre dispels any incipient Bhairavi
aspirations. An
M-laden prayoga is illustrated:
S, r n' S r g, (g)r g M, M, (g)r g, r, S
Notice the avarohi 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 beyond, viz., S r
g P
or S r g P d, but is deployed in descending
prayogas, where
it is the pancham's turn to be spurned: d n d M g r,
g. This
skipping of the Arohi madhyam and the avarohi pancham is the Achilles
heel of Bilaskhani, violation of which injures 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). The
ucchAraNa of
the meeNDs is extremely critical, the lifeblood of Bilaskhani.
Let us roll out the samplers. This clip from
LEKIN begins with Satyasheel Deshpande's recitation of the definitive Khayal,
neeke ghungariyA,
attributed to "Sadarang." Asha Bhonsle then assumes charge and sings jhooThe
nainA, a
composition inspired by S.N. Ratanjankar (see the next item) -
http://www.sawf.org/audio/todi/lekin_bilaskhanitodi.ram
Malini Rajurkar sings Ratanjankar's beautiful bandish. Alas, she
is in such a tearing hurry that the delicate flavours of verse and melody are
smothered -
http://www.sawf.org/audio/todi/rajurkar.ram
Jha-sahab's double header includes his delightful druta cheez jagadambikA
ambikA -
http://www.sawf.org/audio/todi/jha_bilaskhanitodi_vil.ram
http://www.sawf.org/audio/todi/jha_bilaskhanitodi_druta.ram
One of Jitendra Abhisheki's earliest recordings featured a memorable innings
in Bilaskhani with a bandish composed by C.R. Vyas: taja re abhimAna -
http://www.sawf.org/audio/todi/abhisheki_bilaskhanitodi.ram
An ennobling 1960s Delhi mehfil of Amir Khan signals our Bilaskhani finale -
http://www.sawf.org/audio/todi/amirkhan_bilaskhanitodi.ram
Raga Asavari Todi
This rAga is also known as Komal Rishab Asavari and properly belongs to a
discussion of Asavari anga rAgas. Although the
Asavari anga serves as its base, there is a soupçon of Todi. Its set of notes
is identical to Bilaskhani Todi but the
rAga-chAritra follows the Asavari dicta. A few schools use both the rishabs
(eg. Allauddin Khan
of Maihar). Then there's the allied Raga Gandhari to watch out for.
This unpublished Amir Khan excerpt is food for the soul -
http://www.sawf.org/audio/todi/amirkhan_asavaritodi.ram
Raga Bahaduri Todi
This highly vakra rAga employs both the rishabs, komal
gandhAr, komal dhaivat, and the shuddha madhyam. Two
disparate components are tied together by special sanchAris and
the intonation is mediated by meeNDs. The first theme is contributed
by Raganga Todi (r g r S), the
other supplied by Raga Desi.
This is an exceedingly beautiful rAga, known for its aesthetic
unity inspite of its convoluted architecture. There are two principal
versions of Bahaduri Todi of which one is discussed here. This
rAga bears no kinship to the Carnatic Bahudari.
The preferred strategy draws on Desi for the Arohi development in
the poorvAnga. The eventual termination of the melodic sorties is accomplished
through avarohi expression of the Todi anga. Let us consider the lakshaNAs.
S R g (S)R g
The Arohi shuddha rishab is equipped in special fashion; notice the grace
of shaDaj in the second instance.
The gandhAr is informed by both 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 with the komal nishAd. The movements
are broken down heuristically as follows:
S, R n' S R G (S)R g - (Desi)
g R g M - (nyAsa on madhyam, special
prayoga)
(M)g (M)g P - (approach to the pancham)
P, (n)d (n)d - (komal dhaivat caressed with
n)
(n)d (n)d S" - (approach to the tAr shaDaj,
nishAd skipped)
r" n d M - (special meeND)
P (g)R g - (Desi)
RgM, M g r g, r, S - (conclusion with Raganga
Todi).
Let us see the rAga through the eyes of two great musicians,
each a master of his chosen metier. One is a peerless vidwAn and vAggeyakAra,
the other a performer the likes of whom don't come by often.
Pandit Ramashreya Jha "Ramrang" quickly lays out the lakshaNAs -
http://www.sawf.org/audio/todi/jha_bahaduritodi_vil.ram
http://www.sawf.org/audio/todi/jha_bahaduritodi_druta.ram
Mallikarjun Mansur's tour de force in this 1968 recording when he was at the
peak of his powers is
a spectacle fit for the Gods. 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 safAi in execution. This is directed,
controlled virtuosity at its most sublime. At the end of it all the rAga
emerges unscathed and effulgent -
http://www.sawf.org/audio/todi/mm_bahaduritodi.ram
Raga Ahiri Todi
The rAga draws on Raganga Todi in its poorvAnga and Ahiri in its
uttarAnga. The provenance of its swaras is the 10th Carnatic melakartA
Natakapriya:
S r g M P D n. A little consideration shows
that this scale is
generated by an appropriate murchhanA/grAha bhedam on
Charukeshi (take the "new" Sa to be the pancham of Charukeshi).
Two outstanding 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.sawf.org/audio/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.sawf.org/audio/todi/jha_ahiritodi_druta.ram
Nikhil Banerjee adopts the name "Aahiri" for his presentation -
http://www.sawf.org/audio/todi/nb_aahiri.ram
Obiter dicta: A different version of Ahiri Todi found in the
literature has now gone out of fashion.
Also, Ravi Shankar has eliminated the pancham from the parent scale to extract
a beautiful melody
called Parmeshwari.
Raga Salagavarali
This rAga was conceived by S.N. Ratanjankar and draws its genetic material
from
the 46th Carnatic melakartA Shadvidhmargini: S r g m P
D n.
The swaroopa of Raga Salagavarali drops the madhyam altogether to assume the
following
contour:
S r g P D n D S"::S" n D P g (P)r g, r, S
The rAga has been brilliantly exploited by Jeetendra Abisheki
in a celebrated Natyageeta. Watch out for the injection of a vivAdi
dosha via the teevra madhyam: ghe'ee chhanda makarand priya hA milind -
http://www.sawf.org/audio/todi/abhisheki_salagavarali.ram
Ratanjankar's original composition is extremely popular and
widely performed. K.G. Ginde: sumara sAheb sultAna -
http://www.sawf.org/audio/todi/ginde_salagavarali.ram
Raga Mangal Gujari
A relatively new entrant into the Hindustani system, its swaras
emerge from the 44th Carnatic melakartA Bhavapriya: S r
g m P d n.
The Hindustani rAga that employs this sampoorNa scale goes by the name Adarangi
Todi.
In Mangal Gujari the pancham is varjya, rendering its scale identical
to the Carnatic Bhavani (the Hindustani Raga Bhavani
is a very different horse, a chatuswara rAga of the Bilawal thAT).
Mangal Gujari resembles Gurjari Todi in its mannerisms with the
proviso that its nishAd is komal. Ragas employing the komal nishAd-teevra
madhyam combine
are scarce in the Hindustani system. Almost all of the
m-n-laden rAgas
currently in the Hindustani employ - Saraswati, Vachaspati,
Shanmukhapriya, Hemavati etc - are imports from the Carnatic
domain and have not as yet found that wide an embrace;
those that have, have evolved within the system (eg. Madhukauns).
Mangal Gujari's profile takes the following form:
S r g m d n S"::S n d m g, r g, r, S
It is seen at once that scalewise the following equation holds true:
Gurjari Todi : Miyan ki Todi :: Mangal Gujari : Adarangi Todi
The swara track in Mangal Gujari is known to present some
discomfort to the unaccustomed Hindustani mind, particularly around the komal
nishAd area.
Jha-sahab burst into Mangal Gujari one afternoon after lunch
quite unexpectedly. Fortunately I had the recorder sitting on
the Harmonium -
http://www.sawf.org/audio/todi/jha_mangalgujari.ram
Raga Khat Todi
This uncommon prakAr, containing both the madhyams, is mostly sung
by the Atrauli-Jaipur and Agra musicians. In the main body of Todi a
small phrase of Khat is introduced. Two Atrauli-Jaipur flavours, differing in
the type
of the leading Khat phrase employed, are offered.
Anandrao Limaye uses the gMPdn P cluster...
http://www.sawf.org/audio/todi/limayebuwa_khattodi.ram
...whereas Mallikarjun Mansur co-opts R M R P
-
http://www.sawf.org/audio/todi/mm_khattodi.ram
Raga Jaunpuri Todi
An admixture of both Jaunpuri and Todi, effortlessly assayed by
Mallikarjun Mansur -
http://www.sawf.org/audio/todi/mm_jaunpuritodi.ram
Raga Laxmi Todi
This traditional Todi prakAr reveals chhAyAs of Gaud, Asavari, Kafi within
the
Todi framework. K.G. Ginde is ill at ease with this Dhamar composition of
Ratanjankar -
http://www.sawf.org/audio/todi/ginde_laxmitodi.ram
Jha-sahab's enchanting bandish scythes to the core: Aja hamAri -
http://www.sawf.org/audio/todi/jha_laxmitodi_vil.ram
Raga Hussaini Todi
Elements of Hussaini Kanada and Asavari are woven into the Todi fabric
in this aprachalita prakAr. These are 'small' rAgas ("asthAi-antare ke rAga")
and Jha-sahab likens them to chutney in the course of a main meal: tero
samAna Sa'i -
http://www.sawf.org/audio/todi/jha_hussainitodi_vil.ram
Obiter dictum: The Agra-Atrauli musicians purvey a completely
different version of
Hussaini Todi, one that has no Todi anga whatsoever in it. There are
unpublished recordings of
Vilayat Hussain Khan, Kaushalya Manjeshwar and
Kishori Amonkar singing the bandish niranjana ki jai.
Raga Abheri Todi
Another arcane variant in which strands of Asavari and Khamaj are tied to
the Todi anga. Ramashreya Jha "Ramrang": gunijana gAyiye bajAyiye -
http://www.sawf.org/audio/todi/jha_abheritodi_druta.ram
Raga Viyogavarali
This baby of S.N. Ratanjankar belongs to the 9th Carnatic melakartA
Dhenuka: S r g M P d N. Ratanjankar has
eliminated the
pancham and inserted a Todi anga through the r-g
coupling
to arrive at the following profile:
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.sawf.org/audio/todi/ginde_viyogavarali.ram
Raga Suha Todi
This joD-rAga with Suha and a dash of Todi anga is
peddled by Ali Akbar -
http://www.sawf.org/audio/todi/aak_suhatodi.ram
Raga Bairagi Todi
The pentatonic version cited here was introduced by
Ravi Shankar. Its scale obtains by replacing the madhyam in
Bairagi with the komal gandhAr: S r g P n.
Shankar's gat is
in the Sade Gyarah tAla (11.5 beats) -
http://www.sawf.org/audio/todi/rs_bairagitodi.ram
Jha-sahab has developed another version of Bairagi Todi where a dash of
Todi anga is injected into the Bairagi body.
Raga Niranjani Todi
In this creation of l'enfant terrible Kishori Amonkar, elements of Ahir
Bhairav, Bairagi and a Bhinna Shadaj-esque nishAd
are observed. I don't have the gal's recording yet so we will have
to do make do with her pupil Raghunandan Panshikar -
http://www.sawf.org/audio/todi/panshikar.ram
Raga Lachari Todi
Although this is acknowledged as a traditional Todi prakAr,
there is no hide nor hair of Todi in its bosom. The development is primarily
grounded
in Asavari. The reader is invited to bring her own measure
to this sampler offered by V.R. Athavale -
http://www.sawf.org/audio/todi/vra_lacharitodi.ram
Raga Jaiwanti Todi
Jaiwanti Todi is a conception of Maharana Jaiwant Singh of Sanand who
is best known for his composition Mata Kalika popularized by Banditji.
The general outline is:
S r g, r g r S, S r M P D n, D, P, M P n D
P
P D, (P)M M P (M)g, r g r S
The gandhAr is typically dropped in Arohi movements extending beyond the
madhyam. The rAga may be considered a janya of Ahiri Todi. Banditji
sings the Maharana's composition in madhya laya Teentala:
Aja mori araja suno, sirtAja, tuma baDe gHareeb nawAj
bigaDi banaiyyA tuma ho bhaiyyA, tumko meri lAja
http://www.sawf.org/audio/todi/banditji_jaiwantitodi.ram
Several other Todis exist, many only in name without even a scent of Todi
anga
to recommend them (eg. Desi Todi, Gowardhani Todi, Anjani Todi etc).
Bhatkhande
also cites other prakArs, most of them no longer in fashion: Marga Todi,
Mudriki Todi, Zeelaf Todi,
Kafi Todi and so on.
The Universe of Raga and its constituent objects offer the seeker a lifelong
preoccupation,
challenge and both intellectual and emotional nourishment. It is hoped that
this modest introduction to one corner
of it - the splendorous locales of the Empire of Todi - will inspire the reader
towards further exploration and study.
Appendix
In this memorable clip, an animated Pandit Ramashreya Jha "Ramrang" recounts
a discussion he had with M.R. Gautam at BHU in Varanasi, the bone of contention
being
the lakshaNAs of Raga Gurjari Todi. The proceedings begin with Ramrang's
beautiful lakshaNgeeta in that rAga -
http://www.sawf.org/audio/todi/jha_todispeak.ram
Glossary
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