S-r-g-M-d-N-S

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A popular Todi variant named for its historic associations with Gujarat, India’s Westernmost state. Linked to the morning hours, it distinguishes itself from the main Todi by omitting Pa throughout. Tanarang cites a mood of “sweetness and karuna“, revolving around a deergha komal re – with komal dha also playing a prominent role, separated from its usual resolution to Pa. Intriguingly, artists such as Dagarvani beenkar Bahauddin Dagar choose to intone Gujiri Todi’s Sa with a slightly higher sruti than that of the tanpura – the absence of Pa in effect ‘frees the Sa‘, allowing its pitch to vary without being locked to the consonance of the Pa-Sa samvad (n.b. the Dagarvani sruti system is also related to the sun’s daily arc: see ‘non-zero Sa‘). Refer to outstanding renditions by Shivkumar Sharma, Hariprasad Chaurasia, Uday Bhawalkar, Bhimsen Joshi, and Parveen Sultana (sthayi transcribed below), as well as a sublime sitar–shehnai jugalbandi from Vilayat Khan & Bismillah Khan. Gujiri Todi’s SrgMdNS swara set is a murchana of both Jog and Brindabani Sarang – also lying close to Mangal Gujari (komal ni instead), Din ki Puriya (shuddha Ga instead), Antardhwani (shuddha ma instead), and Firozkhani Todi (no Ni). Also compare to other members of the Todi raganga.

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• Raga Masterlist (1000+) •

राग गुर्जरी तोडी

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• Hindustani Raga Index •

Aroha: dSrg; MdNd; dNS

Avroh: SNd; MgMd; rgrS

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Pakad: variable, e.g. MdNdMg, rgrS

Chalan: e.g. SrdS; rgrS; rgrg; Mgrg; MdMgMd; MdNd; dNS; dNSrgrS; SNdMgMd; Mgr rgrS (Bor/Sadolikar)

—Parveen Sultana (2007)—

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[refrain, e.g. 2:54] (d)Srg/d Mg(rg)r, g r S(NS), (d)Srg/d…

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• Ragmalas •

Historic miniature paintings (learn more)

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“A young woman desperately misses her lover; her sorrow and longing is demonstrated by the gesture of her arms circled around her head. Her eyes are wide and downcast, and her passion’s heat is so high that she is fanned by a confidante for relief…” (Malwa, c.1600) / “The handsome, sprightly Gujari: a confidante recites verses while playing a veena; her song induces drizzling rain, and her sight delights the heart of her lover. A peacock shines in its nimble movements, its sweet voice captivating the heart. Covering her body with a yellow robe, the damsel of bright complexion sits, stealing one’s heart and making Megha Mallar happy…” (Jaipur, c.1750)

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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: (none found)

See all shadav ragas which omit Pa – and also compare to other members of the Todi raganga

–Swara Geometries–

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• Core form: S–r–g–M–d–N–S

• Reverse: SrGMDNS (=Marwa)

• Complement: SRGmPDnS (=Khamaj)

• Imperfect: 2 (Sa, ga)

• Detached: 1 (Sa)

• Symmetries: none

• Murchanas: Jog set

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• Quirks: ‘detached Sa‘

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–Global Translations–

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• Carnatic: ~Shekharachandrika

S-R₁-G₂-M₂-D₁-N₃-S

• Jazz: Lydian b2 b3 b6 (no 5th)

1-b2-b3-#4-b6-7-8

• Pitch classes (‘fret-jumps’):

0-1-3-6-8-11-0

(1–2–3–2–3–1)

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o o • o • • o • o • • o o

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• Tanpura: Sa–dha (+Ni)

• Names: Gujiri Todi, Gujari Todi, Gurjari Todi

• Transliterations: Hindi (गुर्जरी तोडी); Bengali (গুর্জরী টোড়ি)

—Shivkumar Sharma (2010)—