S-r-g-mM-P-d-nN-S
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”).
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—Shalmalee Joshi (2017)—
[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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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.
–Swara Geometries–
• Core form: S-r-g-mM-P-d-nN-S
• Reverse: SrRGmMPDNS (=none)
• Inverse: Dha; SmPS (=none)
• Imperfect: 1 (Pa)
• Detached: none
• Symmetries: mirror (g—D)
• Murchanas: Jaijaiwanti set
–Global Translations–
• 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)
o o • o • o o o o • o o o
• Tanpura: Sa–Pa (+dha)
• Names: Khat Todi, Kat Todi
—Anandrao Limaye (~1980s)—
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