S-r-g-mM-P-d-nN-S

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In Parrikar’s summary, Khat Todi is described as an “uncommon [double-Ma] prakar…mostly sung by Jaipur-Atrauli and Agra musicians. In the main body of Todi, a small phrase of Khat is introduced” (i.e. the raga is more like ‘Todi seasoned with Khat’ rather than a more evenly-weighted combo). He cites two different Khat strains used by Jaipur-Atrauli vocalists (“Anandrao Limaye uses the gmPdnP cluster, whereas Mallikarjun Mansur co-opts RmRP”). Subbha Rao’s Raga Nidhi Vol. 3 (1965) also lists another form of the raga, which avoids tivra Ma throughout – noting that this version can present chayas of Bilaskhani Todi in aroha and Asavari komal re in avroh.

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• Hindustani Raga Index •

—Shalmalee Joshi (2017)—

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[bandish, e.g. 3:25] dMgMd S, S\d d/n n\P P, MgMd, dMg, g(M)gr S, Srgm (m)gm, m(g)P\S, dndP, MdNS, dMgMd S, S\d d/n n\P…

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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: Mangal Todi, Adarangi Todi

–Swara Geometries–

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• Core form: S–r–g–mM–P–d–nN–S

• Reverse: SrRGmMPDNS

• Negative: 5-2-5

• Imperfect: 1 (Pa)

• Detached: none

• Symmetries: mirror (g—D)

• Murchanas: Jaijaiwanti set

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

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–Global Translations–

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• Carnatic: (~Shubhapantuvarali)

S-R₁-G₃-M₁-M₂-P-D₁-N₂-N₃-S

• Jazz: Phrygian (dbl. 4th/7th)

1-b2-b3-4-#4-5-b6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-1-3-5-6-7-8-10-11-0

(1–2–2–1–1–1–2–1–1)

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o o • o • o o o o • o o o

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• Tanpura: Sa–Pa (+dha)

• Names: Khat Todi, Kat Todi

—Anandrao Limaye (~1980s)—