S-rR-gG-m-P-d-n-S

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Described by musicologist and critic Rajan Parrikar as “another obscure [Todi] variant, in which strands of Asavari and Khamaj are tied to the Todi-anga”. His guru Ramrang’s rendition of the raga revolves around phrases such as PmPm\g; mPn\d; SRnS; rnSRG – while the name presumably derives from the mostly-congruent Carnatic Abheri. Remains rare on the concert stage.

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—Ramashreya Jha ‘Ramrang’ (~1990s)—

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[motifs, e.g.] PmPm\g; mPn\d; SRnS; rnSRG

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

–Swara Geometries–

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• Core form: S-rR-gG-m-P-d-n-S

• Reverse: SRGmPdDnNS (=none)

• Inverse: Ni; SPnS (=none)

• Imperfect: 2 (Re, Ga)

• Detached: 1 (Ga)

• Symmetries: none

• Murchanas: none

–Global Translations–

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• Carnatic: (~Natabhairavi)

S-R₁-R₂-G₂-G₃-M₁-P-D₁-N₂-S

• Jazz: Aeolian (dbl. 2nd/3rd)

1-b2-2-b3-3-4-5-b6-b7-8

• Pitch classes (‘fret-jumps’):

0-1-2-3-4-5-7-8-10-0

(1–1–1–1–1–2–1–2–2)

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o o o o o o • o o • o • o

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• Tanpura: Sa–Pa

• Names: Abheri Todi, Aberi Todi

—Rendition ()—