• Raag Bahaduri Todi •


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 (below) revolves around long, slow, full-toned poorvang lines, interchanging komal and shuddha re in fine balance – while Manjiri Asnare-Kelkar‘s excellent 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 KhatPandit 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 AUTRIM’s pitch-graph of an Aslam Khan recording.

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—Mallikarjun Mansur (~1990s)—

[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…


• 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 | 32Enclosed | 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: Gandhari


–Swara Geometries–

Core form: SrRgmPdnS
Reverse: SRGmPDnNS (=Desh)
Negative: 5-2-3-2
Imperfect: 1 (Re)
Detached: none
Symmetries: mirror (rR—Pd)
Murchanas: Bihag set

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


–Global Translations–

Carnatic: ~Ghanta
Jazz: Phrygiolian
Pitch classes (‘fret-jumps’):

o o o o • o • o o • o • o


• Tanpura: Sa–Pa
• Names: Bahaduri Todi


—Manjiri Asnare-Kelkar (2021)—



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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

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