• Raag Jaiwanti Todi •


An Ahiriprakriti raga introduced by Maharaja Jaiwant Singh Waghela (1904-1980): a hereditary King of Sanand who also gained wide renown as a vocalist, music educator, spiritual teacher, and generous patron of the nascent Mewati gharana (see below: also hear his famous Mata Kalika bandish). Some link its twists and turns to the melodic lineages of Jaunpuri, Todi, and Ahir Bhairav, while Parrikar gives a chalan of Srg, rgrS, SrmPDn, DP, mPnD PPD, PmmP mg, rgrS (“ga is typically dropped in aroha movements extending beyond ma”). Refer to a rhythmic rendition by Pandit Jasraj below (who, in his youth, studied under Jaiwant Singh), also showcasing some superb harmonium support, I think from the great Appa Jalgaonkar (n.b. on the off-chance that any sonically-supportive kings are reading: perhaps you’d like to patronise my raga project?). Also see the overlapping Ahiri Todi.

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Aroha: SrgmPDnS
Avroh: SnDPmgrS

Chalan: e.g. Srg; rgrS; SrmPDn; DP; mPnD; PPD; PmmP; mg; rgrS (Parrikar)


—Pandit Jasraj (1982)—

[refrain, e.g. 0:18] r(S) D(nD), g\r(gr)S rm, PDP(mPm) m(g) g(r) r(S)S, r(S) D(nD), g\r(gr)S rm…


• More •

Histories, melodies, mythologies, etc…

—Imagery: Jaiwant Singh & Jasraj—

“Pandit Jasraj – a maestro and a legend – is no more. While the world pens thoughts on his virtuous voice and ethereal bhajans, my mind travels to the distant, sleepy town of Sanand in Gujarat, where his heart resided. Pandit-ji’s connection with the vaghelas [rulers] is immense. It was at a very early age when he travelled to the state with his elder brother Pratap Narayan, to learn from the legendary ruler Jaiwant Singh Waghela…” (Anshu Khanna)


• 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 | 32Enclosed | 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: Thaat #30, Ahiri, Prabhateshwari


–Swara Geometries–

Core form: SrgmPDnS
Reverse: SRgmPDNS (=Patdeep)
Negative: 3-2-2-2-3 (e.g. Tivrakauns)
Imperfect: 3 (re, Pa, Dha)
Detached: 2 (re, Dha)
Symmetries: mirror (m—N)
Murchanas: Charukeshi set

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


–Global Translations–

Carnatic: ~Natakapriya
Jazz: Dorian b2
Pitch classes (‘fret-jumps’):

o o • o • o • o • o o • o


• Tanpura: Sa–Pa
• Names: Jaiwanti Todi, Jayawanti Todi


—Amit Arya (2010)—



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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

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