S-r-g-m-D-n-S

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A near-extinct raga of uncertain origin, Deen Todi takes an ‘Ahiri no Pa’ form. Best preserved via an astonishing rendition by Kamalesh Maitra on the tabla tarang (a semicircle of 13 sruti-tuned dayan drums: below), accompanied by a multiphonic cluster of tanpura drones (tuned D-n-r-S). Parveen Sultana has also sung it live, and seems to have taught it to students too – but today, the raga has largely been subsumed by Ravi Shankar‘s prakriti Parameshwari. Also see the overlapping Jaiwanti Todi and Prabhateshwari – and read more about Maitra’s multi-tabla innnovations in an NTS overview (“He remained a member of [Ravi Shankar‘s brother] Uday Shankar’s dance group for more than 20 years, travelling to the USA, China, Africa, and Europe, firstly as its master-drummer and then as its artistic director. While working for Uday, Maitra also studied the sarod with Ali Akbar Khan…”).

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• Raga Megalist (365+) •

राग दीन तोड़ी

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• Hindustani Raga Index •

—Kamalesh Maitra (1996)—

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[theme, e.g. 1:12] Sr, gmnD, DnD, DmgrSr, gmnD…

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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: Parameshwari

Also see other shadav ragas which omit Pa

–Proximate Forms–

Ahiri = ‘Deen Todi add Pa‘

Hari Todi = ‘Deen Todi tivra Ma‘

Sundarkauns = ‘Deen Todi no re‘

Salagavarali = ‘Deen Todi Pa-for-ma‘

Laliteshwari = ‘Deen Todi double Ma‘

Vinay Bhairav = ‘Deen Todi shuddha Ga‘

(n.b. these are just ‘scalar similarities’, with nothing particular implied about phraseological overlap)

–Swara Geometries–

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• Core form: S–r–g–m–D–n–S

• Reverse: SRgPDNS

• Negative: 3-2-2-1-1-3

• Imperfect: 3 (Sa, re, Dha)

• Detached: 2 (re, Dha)

• Symmetries: none

• Murchanas: Kameshwari set

–Global Translations–

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• Carnatic: (~Natakapriya)

S-R₁-G₂-M₁-D₂-N₂-S

• Jazz: Sagimic

1-b2-b3-4-6-b7-8

• Pitch classes (‘fret-jumps’):

0-1-3-5-9-10-0

(1–2–2–4–1–2)

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o o • o • o • • • o o • o

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• Tanpura: Sa–ma (+ni, re, Dha)

• Names: Deen Todi, Dhin Todi, (~Parameshwari)

• Transliterations: Hindi (दीन तोड़ी)

—Parveen Sultana (1977)—