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 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)—

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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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• 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: Miyan ki Malhar, Ahiri Todi, Bageshri Bahar, Bahar, Barwa, Lanka Dahan Sarang, Sindhura, Sughrai

–Swara Geometries–

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• 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

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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

—Manjiri Asanare-Kelkar (2020)—