Faridi Todi | SrgGMdnS | Hindustani Raga Index

S-r-gG-M-d-n-S

A raga known, as of 2025, through a single rendition: Supriyo Maitro’s spellbinding vocal tribute to his Dagarvani forebear Zia Fariduddin Dagar, live from the 2018 Faridi Samorah Festival in Bhopal with Aditya Deep on pakhawaj (“in remembrance of [Zia’s] 86th birthday, the festival was a musical tribute to the Ustad by his disciples, in fond memory of him”). Faridi Todi’s unique SrgGMdnS shape – familiar to jazz musicians as the ‘Superlocrian/Altered’ scale – offers few consonant resolutions to Sa, requiring performers to construct a delicate balance of other sangatis around an unstable core. Maitro makes sparing use of shuddha Ga (the only shuddha swara on offer), confining it to the phrases SrgGMd and SndMG, and his ascending lines tend to omit ni – leaving a pentatonic focus on SrgMdS (pakad: gMd d/S; reminiscent of Firozkhani Todi). Compare to the rest of its murchana set (Charukeshi, Patdeep, Ahiri, Vachaspati), as well as to Mangal Gujari (the ‘komal ga only’ version of the scale) and Shrutivardhini (another raga linked to Zia Fariduddin Dagar). I’m currently researching more about the raga…further information welcome!

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राग फ़रीद तोडी

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—Supriyo Maitro (2018)—

[motifs, e.g. 0:52] SrgGM, d, S(nS) SS(n)S, SS, SS, SS, SndM\G G, GMdS S, S SSS S, S SSS S, gMd (d)S, n nd (d)Md, (d)S…

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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 | 32 | Enclosed | 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: (none found)

Also see other shadav ragas which omit Pa

–Swara Geometries–

• Core form: S–r–gG–M–d–n–S

• Reverse: SRGMdDNS

• Negative: 2-2-2-3-3 (e.g. Tivrakauns)

• Imperfect: 3 (Sa, Ga, ni)

• Detached: 2 (Sa, Ga)

• Symmetries: mirror (R—d)

• Murchanas: Charukeshi set

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

–Global Translations–

• Carnatic: (?)

S-R₁-G₂-G₃-M₂-D₁-N₂-S

• Jazz: Superlocrian/Altered

1-b2-b3-3-#4-b6-b7-8

• Pitch classes (‘fret-jumps’):

0-1-3-4-6-8-10-0

(1–2–1–2–2–2–2)

o o • o o • o • o • o • o

• Tanpura: Sa–dha

• Names: Faridi Todi, Farid Todi

• Transliterations: Hindi (फ़रीद तोडी)

—Supriyo Maitro (2018)—

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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!