S-R-g-m-P-D-nN-S

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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 Asanare-Kelkar’s ever-excellent melodic breakdown describes it as “Desi with a ‘Hussaini’ phrase” [a sruti-laden mPD, S(nSN)S, m, mPDnS] – adding that this phrase also turns up in the ‘other’ version of Hussaini Todi, and also in the allied Hussaini Kanada (also cautioning that “there are some peculiar swara-lagavs, which are beyond grammar”: see full transcription below). The raga’s second incarnation – which runs more like a double-Ma blend of Todi, Asavari, and Hussaini Kanada – displays wide variance, with Agra vocalist Latafat Hussain Khan’s version appearing to be a rework of Desi Todi, even resembling a ‘shuddha Dha Darbari’ in places – and Abhirang‘s, working from a Ramrang bandish, taking characteristic descending motions of SPnP; mPDnP; dmPg; rgrS. Also performed by Gwalior stalwart V.R. Athavale as part of an intriguing ‘trio of Todis’ along with Lachari Todi and Bhupali Todi.

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राग हुसैनी तोडी

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Aroha: SRGmPDNS

Avroh: SnDPmGRS

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Chalan: e.g. mmPR gSRnSP, PDNS, PDS RgSRnS, mmP, PD S(nSN)S\P, RS(n)R S(nSN)S\P, PDNS\PD, mPR gm gR, gSR, nS (Asanare-Kelkar)

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—V.R. Athavale (~1990s)—

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[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…

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Histories, melodies, mythologies, etc…

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—Manjiri Asanare-Kelkar: Amodini—

Here’s a transcription of Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s demo lesson, covering her tradition’s incarnation of the raga (from her superb Amodini: The Joy of Rare Ragas series):

 

“Namaskar, today I’m going to talk about Hussaini Todi. There are two different versions of this raga – and in the version I’m going to explain today, there are a few strange things:

• Firstly: though it is named ‘Hussaini Todi’, you will not find any Todi element in it (but you will find Todi in the other version).
• Secondly: the name ‘Hussaini’ is not derived from any raga – Hussaini [or ‘Huseni’] is a ‘swara-samuha’; a particular phrase or set of swaras. You will also find this same phrase in Hussaini Kanada, and also in the other version of Hussaini Todi.
• Thirdly: there are some peculiar swara-lagavs in this version, which I think are beyond grammar.

We will start with the bandish: S, RSS nSR, S(nS)nDP, DNSS NSR, S(nS)nSD, PD S(n)S(N)S (S)nPP, m(nnPmPn)P m\gR GmgR RSS, S(m)R(P)m(n)P nDPmm (m)gR Gm, m\gR (gR)SR RnS(n)RSS, PD S(n)S(N)S S, SS(Sn)S, SRgR g(RS)RSS, SS\D(Rn) S(N)SPP, PnDPm, mPD(S)NS\D PDPm m(nnPmPnPm)P m\gR GmgRS S, S(m)R(P)m(n)P nDP m\gR Gm, mg(m)Rg SR (R)NS, RSS.

 

When I learned this raga from my guru-ji Pandit M.S. Kanetkar, he told me that although this raga is named ‘Hussaini Todi’, it is in fact an offshoot of Desi…the Hussaini phrase is combined with the main structure of Desi. Now, we will see the structure – but, before that, I will demonstrate this peculiar ‘Hussaini’ phrase: mPD, S(nSN)S, m mPD(S)nS [n.b. the ni in the first ornament is intoned much higher than usual: see ‘sakari Ni’].

 

Now, we will see the Desi part: RmmP RgSRnS, mP RmPD(Pm)PR gSR(S)nS, mP (PSP)S, RS Rg SR(S)nSP, PD(P)mPR gSRnS. Now, the whole structure: mmPR gSR(S)nSP, PDN(SN)S, PD(SN)S RgSRn(Sn)S, mmP, PD S(nSN)S\PP, (n)RS (n)R S(nSN)S\P, PDNS\PD(Pm), mPR gm gR, gSR, nS.

 

I mentioned that there are some peculiar swara-lagavs, which I will now explain. Please listen to the phrases with Ni and Ga very carefully: S(D)P PDNS, RGmg(R) RgSR N(SN)S, PDN(SN)S, RmP, PD S(nSN)S\PP, mPDS(nSN)S, RS Rn(Sn)S\P, PDDPmP, g(R)R Gm\g(R) Rg RSR (S)nS. So the overall structure will be like this: (S)n(R)S(m)R, (P)mP, PD PD(mPm)P mRgR(S)R SN (N)S, N(RNSN)S\P PD S(nSN)S, Rm mP, PD D(SnSN)S, (n)RS, (n)RS(nSN)S\P, PDNS\P PDPmP, PRSgRSR N(SN)S. I will conclude this session with a famous composition in jhaptal…”.

 

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—Hussaini Todi (Amodini demo)—

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Also see Manjiri’s other Amodini demos: Abhogi Kanada, Bahaduri Todi, Baradi, Dagori, Dev Gandhar, Gauri, Hussaini Todi, Jait Kalyan, Jaitashree, Kabiri Bhairav, Kaunsi Kanada (Nayaki-ang), Khat (Asavari-ang), Khokar, Lalita Gauri, Lanka Dahan Sarang, Malavi, Maligoura, Mudriki Kanada, Ramdasi Malhar, Raisa Kanada, Shukla Bilawal, Sughrai, Suha, Vihang

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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: Miyan ki Malhar, Charju ki Malhar, Barwa, Bahar, Bageshri Bahar, Sindhura, Sughrai, Lanka Dahan Sarang

Also compare to other members of the Todi and Kafi ragangas

–Swara Geometries–

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• Core form: S–R–g–m–P–D–nN–S

• Reverse: SrRgmPDnS

• Complement: SrGMdS

• Imperfect: 2 (Dha, Ni)

• Detached: 1 (Ni)

• Symmetries: none

• Murchanas: Miyan ki Malhar set

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

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–Global Translations–

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• 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)

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o • o o • o • o • o o o o

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• Tanpura: Sa–Pa

• Names: Hussaini Todi, Husseini Todi, Huseni Todi

• Transliterations: Hindi (हुसैनी तोडी)

—Abhirang (2020)—