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

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A popular Todi variant named for its association with Gujarat, India’s Westernmost state. Linked to the morning hours, it takes a similar swara set to the main Todi, distinguishing itself by omitting Pa throughout. Dagarvani beenkar Bahauddin Dagar chooses to intone the raga’s Sa (the only ‘detached‘ swara) with a slightly higher sruti than that of the tanpura, adjusted in accordance with the sun’s daily arc (see non-zero Sa). Tanarnag cites a mood of “sweetness [and] karuna“, revolving around a deergha komal re. Gujiri Todi is also an exact murchana of Jog and Brindabani Sarang.

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• Raga Megalist (365+) •

Search | Glossary | Tags

• Hindustani Raga Index •

Aroha: SrgMdNS

Avroh: SNdMgrS

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Chalan: e.g. SrdS; r(g)rS; rgrgM(g)rg; MdMgMd; MdNd; dNS; dNSrgrS; SNdMgMd; Mgr(g)rS (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

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: (none found)

–Swara Geometries–

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• Core form: S–r–g–M–d–N–S

• Reverse: SrGMDNS (=Marwa)

• Negative: 4-2-1-2-2-1 (e.g. Manavi)

• 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, Gurjari Todi

—Shivkumar Sharma (2010)—