S-R-g-m-P-D-nN-S
A rare raga which appears in at least two modern-day variants. The predominant Jaipur-Atrauli interpretation takes the swaras of ‘Kafi double-Ni’, eschewing the Todi-ang altogether: Manjiri Asnare-Kelkar‘s breakdown describes it as “Desi with a ‘Hussaini’ phrase [a sruti-laden mPD, (SnS)nS, m, mPDnS]: you will not find any Todi”, adding that “the name ‘Hussaini’ [refers to this] group of swaras, which you will also find in Hussaini Kanada, and in the other version of Hussaini Todi. There are some peculiar swara-lagavs, which are beyond grammar…”). Another incarnation runs more like a double-Ma blend of Todi, Asavari, and Hussaini Kanada, and Agra vocalist Latafat Hussain Khan’s version appears to be a rework of Desi Todi, in some places resembling a ‘shuddha Dha Darbari’ too – while Abhirang, working from a Ramrang bandish, suggests descending motions of SPnP; mPDnP; dmPg; rgrS. Also performed by Gwalior stalwart V.R. Athavale as part of an intriguing ‘Todi trio’ with Lachari Todi and Bhupali Todi.
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• Hindustani Raga Index •
—Vinayak Athavale (~1990s)—
[refrain, e.g. 0:42] NS, S, (SN)RS S\n D(P)D PDNS, S, D (n)PDNS, (SRN)S, (SNSR)S S\nD PDNS, S…
• Classifiers •
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: Miyan ki Malhar, Ahiri Todi, Bageshri Bahar, Bahar, Barwa, Lanka Dahan Sarang, Sindhura, Sughrai
–Swara Geometries–
• Core form: S–R–g–m–P–D–nN–S
• Reverse: SrRgmPDnS
• Negative: 5-3-2-2
• Imperfect: 2 (Dha, Ni)
• Detached: 1 (Ni)
• Symmetries: none
• Murchanas: Miyan ki Malhar set
• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)
–Global Translations–
• Carnatic: (~Kapi/Kannada)
S-R2-G2-M1-P-D2-N2-N3-S
• Jazz: Dorian double 7th
1-2-b3-4-5-6-b7-7-8
• Pitch classes (‘fret-jumps’):
0-2-3-5-7-9-10-11-0
(2–1–2–2–2–1–1–1)
o • o o • o • o • o o o o
• Tanpura: Sa–Pa
• Names: Hussaini Todi, Husseini Todi, Huseni Todi
—Manjiri Asanare-Kelkar (2020)—