S-R-g-m-P-D-nN-S

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While the title ‘Ahiri Todi’ is often used interchangeably with Ahiri, the former raga has a more complex historical lineage: comprising both an Ahiri–congruent form which many consider indistinct from the main raga (SrgmPDnS) – and an older, near-extinct version which approximates the shape of Asavari (SRgmPDnNS). Agra vocalist Khadim Hussain Khan’s intriguing recording of this second form – one of only a few I can find – displays an unusually strong poorvang-dominance, revolving around phrases such as S(n)S, Sg, (m)g, RSR. Dha is skipped in aroha, and touches of a ‘mid-sruti Ni’ manifest in how root motifs blur between S(n)S and S(N)S. To add further intrigue, a third ‘Ahiri Todi’ variant seems to have once existed, with Subba Rao’s Raga Nidhi listing a raga with this name under the swara set ‘SrgmPdnNS’ (…possibly implying that it may have been a ‘bridge’ between the two forms mentioned above: although the komal dha vadi puzzles me…maybe a relic from a lost Todi–ang?).

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• Hindustani Raga Index •

—Khadam Hussain Khan (~1970s)—

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[alap, e.g. 0:07] (S)g\nS SS, m\g(m)g R(S)RS Sg, S, S(N)S, SS SSS, m\g(m)g, gg (RS)R, Sg (RS)R, Sg, (g)R RS, g\nS SSS, SSS, S(n) S(n)S, gm…

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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.

• Prakriti: Miyan ki Malhar, Bageshri Bahar, Bahar, Barwa, Hussaini Todi, Lanka Dahan Sarang, Sindhura, Sughrai

–Swara Geometries–

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• Core form: S–R–g–m–P–D–nN–S

• Reverse: SrRgmPDnS

• Negative: 5-3-2-2

• Imperfect: 2 (Dha, Ni)

• Detached: 1 (Ni)

• Symmetries: none

• Murchanas: Miyan ki Malhar set

–Global Translations–

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• Carnatic: (~Kapi/Kannada)

S-R₂-G₂-M₁-P-D₂-N₂-N₃-S

• Jazz: Dorian double 7th

1-2-b3-4-5-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-2-3-5-7-9-10-11-0

(2–1–2–2–2–1–1–1)

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o • o o • o • o • o o o o

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• Tanpura: Sa–Pa

• Names: Ahiri Todi, Ahir Todi, (~Ahiri)

—Ajay Prasanna (2017)—

(^ following the Ahiri-prakriti swara-set of SrgmPDnS)