S-r-g-mM-P-d-nN-S

---

A double-ma, double-ni Todi variant linked to 18th-century composer Naimat Khan ‘Sadarang’ and his nephew Feroze Khan ‘Adarang’, who served at the court of Mughal Emperor (and prolific arts patron) Muhammad Shah. While the raga’s historical lineage remains half-sketched, Ali Akbar Khan took to performing it later in his career. Sometimes given the alternate title of ‘Turki’ or ‘Turusk’ Todi (a name which appears in the 13th-century Sangita Ratnakara – although it is unclear what connection this may have to the modern form). Also see Mangal Gujari, which overlaps with the same historic lineage.

---

• Raga Megalist (365+) •

Search | Glossary | Tags

• Hindustani Raga Index •

—Ali Akbar Khan (~1980s)—

---

[gat, e.g. 1:05] r gP(M)d, d, d, n\d d\P, P, P, Md/n n, n\d d\M, M\g, rgrS, r/Mg g, (N)S S, r gP(M)d, d, d…

---

• 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.

• Prakriti: Mangal Todi, Khat Todi

–Swara Geometries–

---

• Core form: S–r–g–mM–P–d–nN–S

• Reverse: SrRGmMPDNS

• Negative: 5-2-5

• Imperfect: 1 (Pa)

• Detached: none

• Symmetries: mirror (g—D)

• Murchanas: Jaijaiwanti set

---

• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

---

–Global Translations–

---

• Carnatic: (~Shubhapantuvarali)

S-R₁-G₂-M₁-M₂-P-D₁-N₂-N₃-S

• Jazz: Phrygian (dbl. 4th/7th)

1-b2-b3-4-#4-5-b6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-1-3-5-6-7-8-10-11-0

(1–2–2–1–1–1–2–1–1)

---

o o • o • o o o o • o o o

---

• Tanpura: Sa–Pa

• Names: Adarangi Todi, Turki Todi, Turusk Todi

—Moumita Mitra (2022)—