S-rR-g-m-P-d-n-S

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Described by Parrikar as “an exceedingly beautiful raga, known for aesthetic unity in spite of its convoluted structure…the disparate constituents are tied together by special sancharis, and the intonation is mediated by meends”. He cites two distinct versions of the raga in modern circulation (neither of which appear to be linked to the Carnatic Bahaduri), noting that “the preferred strategy draws on Desi for [aroha development], and the eventual termination of melodic sorties draws on the Todi-ang…shuddha ma is approached from komal ga and dwelt upon; it is skipped en route to Pa”. Mallikarjun Mansur’s mandra-focused rendition (transcribed below) revolves around long, slow, full-toned poorvang lines, interchanging komal and shuddha re in fine balance – while Manjiri Asanare-Kelkar’s breakdown also highlights “prominent shades of other ragas, like Bilaskhani Todi, Desi, Bhairavi, and Jaunpuri“, many of which call on distinct sruti for the same basic swara positions (“an extremely complicated, very difficult raga, as complex as Khat…Pandit Ramashreya-ji has mentioned that if you want to sing Bahaduri Todi, you must learn it directly from a guru, or else it will lose the flavour…”). Also see a well-filmed santoor take by Ulhas Bapat, and AUTRIM’s pitch-graph tracing the motions of an Aslam Khan recording.

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राग बहादुरी तोड़ी

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—Mallikarjun Mansur (~1990s)—

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[bandish, e.g. 0:01] R, nS Rg(gRgm), m m, m\gP Pmgg, g\r(g)SS, SR/g\rr, r r(g)SS, (S)r nS, S(r)SR(g)rr, S\n\d(nd), n(dnd), d mm, m\gP, m(d) P(nd)d, d(P)P, mP, mPm(g)g, gm mP, Rg SR, nSRg (gRg)m m\gP…

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• More •

Histories, melodies, mythologies, etc…

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—Manjiri Asanare-Kelkar: Amodini—

Here’s a transcription of Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s demo lesson, covering her tradition’s incarnation of the raga (from her superb Amodini: The Joy of Rare Ragas series):

 

“Today I come with an extremely complicated, very difficult raga: Bahaduri Todi…as complex as Khat. It is a ‘shade raga’, so you will find shades of multiple ragas coming together. It is a Todi prakar, so you will definitely find the shade of Todi, along with prominent shades of other ragas, like Desi, Bhairavi, and Jaunpuri. Here, I’m not going to demonstrate each shade, but will sing the bandish Mahadeva Devapati and mention prominent ragas while elaborating it: nSRgm, mgP, Pmg, grgrS…

• [Todi] Srg, rgrS
• [Desi] RnSRg, RgSRn; nSRgm, mgP, Pmg, grS, SrgrS, rnS, nd
• [Bilaskhani Todi] SrnS, nSrnd, ndSrnd, ndS, SrnS, n/nPm, PmdPnd, dPdP
• [Jaunpuri/Asavari] PmdP, ndP, mPdP, ndP, dPdP, PmPmg
• [Bhairavi] PmPg, gmgr, rmgr, grS, RnSRgrg

Now we will go to the antara: mPnd, dnS…You will find shades of:

• [Jaunpuri/Asavari] mP(n)d, nd
• [Todi] Sr(gr), (g)rgrS
• [Bhairavi] SnSd, dSdP, nnSnd, dddP, gPmg, gmPgR
• [Desi] nSRgm, m

All these shades are knitted extremely intricately: this is why it is so very difficult to sing. Pandit Ramashreya-ji has mentioned in his Abhinav Geetanjali that if an artist wants to perform Bahaduri Todi, they must learn it directly from a guru, otherwise it will lose the whole flavour and feel. Now, I have explained the prominent shades of different ragas which come together in Bahaduri Todi. But, while elaborating this raga, you may also find the shades of other ragas, which are close to those mentioned here. It is a very complex raga, so as usual, there are different versions to this bandish too: Mahadeva Devapati…”

 

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—Bahaduri Todi (Amodini demo)—

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Also see Manjiri’s other Amodini demos: Abhogi Kanada, Bahaduri Todi, Baradi, Dagori, Dev Gandhar, Gauri, Hussaini Todi, Jait Kalyan, Jaitashree, Kabiri Bhairav, Kaunsi Kanada (Nayaki-ang), Khat (Asavari-ang), Khokar, Lalita Gauri, Lanka Dahan Sarang, Malavi, Maligoura, Mudriki Kanada, Ramdasi Malhar, Raisa Kanada, Shukla Bilawal, Sughrai, Suha, Vihang

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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: Gandhari

–Swara Geometries–

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• Core form: S–rR–g–m–P–d–n–S

• Reverse: SRGmPDnNS (=Desh)

• Negative: 5-2-3-2

• Imperfect: 1 (Re)

• Detached: none

• Symmetries: mirror (rR—Pd)

• Murchanas: Bihag set

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

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–Global Translations–

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• Carnatic: ~Ghanta

S-R₁-R₂-G₂-M₁-P-D₁-N₂-S

• Jazz: Phrygiolian

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

• Pitch classes (‘fret-jumps’):

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

(1–1–1–2–2–1–2–2)

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o o o o • o • o o • o • o

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• Tanpura: Sa–Pa

• Names: Bahaduri Todi

• Transliterations: Hindi (बहादुरी तोड़ी)

—Ulhas Bapat (~2000s)—