S-rR-gG-m-P-d-n-S

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A modification of Dev Gandhar, devised by Agra vocalist S.N. Ratanjankar via the addition of a Todi-ang rgrS conclusion phrase – thus filling the entire Sa-to-ma swara space. Also recorded by his student K.G. Ginde, who extends this hemitonic run (and leans further into Todi’s geometries) by including touches of shuddha Ni, also reworking some Darbaric uttarang movements (nSRn\d; mPn\d nS). And a 2008 Ramdas Bhatkal article commemorating C.J.R. Bhatt (another Ratanjankar disciple), notes that “An approximation [of] a swara would never satisfy him…I recall learning with him a rarely-sung raga, a creation of Ratanjankar’s, Devgandhari Todi – that required different shades of each swara…He had neither learnt this raga from his guru, nor heard anyone sing this melody. On the strength of his [instruction], I even made bold to present this raga at a concert attended by many stalwarts…”. Also listed as sung by B.D. Wadikar on A.I.R. on Feb 24th 1973 – although I can’t find any surviving recordings other than Ginde’s. Compare to other Ratanjankar-related ragas including Salagavarali, Viyogavarali, & Basant Mukhari.

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राग देवगंधारी तोडी

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—K.G. Ginde (1980s)—

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[bandish, e.g. 2:59] SR S(nS)RP, m\g g\r(S) S, R(N)S RG m(Gm), (GmG)n\d (ndn)P P, (PnPn)PmP m\g(mg) g\r S, n\PP n/S; PDNS (S)Pm mP, SRG m, (mGm)P m\g(mg) (rg)r\S, SR(gR) (Sn)SRP m\g, g\r(gr)S…

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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

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Adarangi Todi

Also compare to other members of the Todi raganga

–Swara Geometries–

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• Core form: S–rR–gG–m–P–d–n–S

• Reverse: SRGmPdDnNS

• Complement: SMDNS

• Imperfect: 2 (Re, Ga)

• Detached: 1 (Ga)

• Symmetries: none

• Murchanas: none

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

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–Global Translations–

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• Carnatic: (~Natabhairavi)

S-R₁-R₂-G₂-G₃-M₁-P-D₁-N₂-S

• Jazz: Aeolian (dbl. 2nd/3rd)

1-b2-2-b3-3-4-5-b6-b7-8

• Pitch classes (‘fret-jumps’):

0-1-2-3-4-5-7-8-10-0

(1–1–1–1–1–2–1–2–2)

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o o o o o o • o o • o • o

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• Tanpura: Sa–Pa

• Names: Devgandhari Todi, Dev Gandhari Todi

• Transliterations: Hindi (देवगंधारी तोडी)