S-rR-gG-m-P-d-n-S
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.
• Raga Megalist (365+) •
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• Hindustani Raga Index •
—Ramashreya Jha ‘Ramrang’ (~1990s)—
[motifs, e.g.] PmPm\g; mPn\d; SRnS; rnSRG
• Classifiers •
Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):
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.
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–
• 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–
• 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)
o o o o o o • o o • o • o
• Tanpura: Sa–Pa
• Names: Abheri Todi, Aberi Todi
—Rendition ()—