S-R-gG-m-P-dD-n-S

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As per Parrikar, “there are 3 varieties of Lachari Todi, all of them having very little to do with Todi proper: and there is major divergence among [them]”. Some renditions limit themselves to the swaras SRGmdnS, although Amjad Ali Khan takes a much more expansive approach, spanning SRgGmPdDnS with complex ornamental combinations that mix both variants of Ga and Dha (transcribed below: and incidentally, SRgGmPdDnS is the ‘sum’ of all five Bhupali murchanas). Mallikarjun Mansur’s interpretation, while using the same RnSRG pakad as Amjad, strays closer to the Todi-ang, incorporating the komal re in g\rS conclusion phrases before switching back to shuddha swaras on the way back up. The best recording I’ve yet encountered is Khurja vocalist Wahid Hussain’s classic cut from the 1940s, featuring impassioned swoops towards taar Sa amidst soaring sarangi accompaniment [n.b. Parrikar’s writeup also notes that “the pentatonic scales SRmdnS and SGmdnS, as far as I know, are as yet unnamed”: the former has been recorded as Sarangkauns, and the latter as both Suryakauns & Siddharanjani].

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राग लाचारी तोड़ी

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—Amjad Ali Khan (2022)—

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[motifs, e.g. 2:48] RnSRG, G(m), G(mR), (G)m, m, m(GP), P(D) m(P) m(gR), R; P/n n\P, P(d) m(P), m(gR), m P/S n\d, n\d(P) P; P/g S/R, S/g S/R, R\S S(nSP), P(S)n, n/S, n(dP) P; m\R mP(n), D, D, D(Pm), P(D) m(P) m(gR), R/m mP(nd), d d(P), P(d) m(P), m(gR), R/g, SR, n(Sn) 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

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: Madhyami

Also compare to other members of the Todi raganga (n.b. many interpretations of Lachari Todi do not in fact lean heavily into the Todi-ang)

–Swara Geometries–

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• Core form: S–R–gG–m–P–dD–n–S

• Reverse: SRgGmPdDnS (=itself)

• Complement: SrMNS

• Imperfect: 1 (Ga)

• Detached: none

• Symmetries: mirror (S—M)

• Murchanas: Jaijaiwanti set

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• Quirks: ‘palindromic‘ (same intervals forwards & backwards) • ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• Carnatic: (~Navaroj)

S-R₂-G₂-G₃-M₁-P-D₁-D₂-N₂-S

• Jazz: Major Pentatonic Modes (sum of)

1-2-b3-3-4-5-b6-6-b7-8

• Pitch classes (‘fret-jumps’):

0-2-3-4-5-7-8-9-10-0

(2–1–1–1–2–1–1–1–2)

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o • o o o o • o o o o • o

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• Tanpura: Sa–Pa

• Names: Lachari Todi, Lacchari Todi

• Transliterations: Hindi (लाचारी तोड़ी)

—Wahid Hussain (~1940s)—