S-rR-gG-m-P-dD-n-S

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A complex multi-melodic blend named after the Hindu goddess of power, beauty, prosperity, and good fortune (Lakshmi: ‘she who leads to the goal’) – which imports the movements of several other ragas into a general Todi framework. Abhirang’s breakdown discusses “shades of Jaunpuri (RmPSdP; nSRndP), Dev Gandhar (RnSRGm), Gaud (SRGmGm; mGRGm), Kafi (RmPDnS), Gandhari (RmPdmPg; rgrS), and Asavari komal re (mPdPgrS)”, while his own bewitching rendition follows an unconventional up-down path, with double-Re throughout, double-Ga in aroha only, and double-Dha in avroh only. Also recorded by B.R. Deodhar – and close to Bahaduri Todi.

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• Raga Megalist (365+) •

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• Hindustani Raga Index •

Aroha: SrgrS, RnSRGm, RmPDnS

Avroh: RndP, mPDnS, dndP, PdmPg, rgrS

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Chalan: parent motifs – e.g. RmPSdP, nSRndP (Jaunpuri); RnSRGm (Dev Gandhar); SRGmGm, mGRGm (Gaud); RmPDnS (Kafi); RmPdmPg, rgrS (Gandhari); mPdPgrS (Asavari) (Abhirang)

—Abhijith Shenoy ‘Abhirang’ (2021)—

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[refrain, e.g. 7:28] rg(mg)r, SRn, SRGm(G)P g(mg)r g(mg)r; SRn, SRGm(G)P g(mg)r g(mg)r S…

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Histories, melodies, mythologies, etc…

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—Imagery: Goddess Lakshmi—

“Gaja Lakshmi at the Buddhist Sanchi Stupa: Satavahana Dynasty” [c.100 CE]

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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: Khat

–Swara Geometries–

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• Core form: S–rR–gG–m–P–dD–n–S

• Reverse: SRgGmPdDnNS

• Negative: 7-5

• Imperfect: 1 (Ga)

• Detached: none

• Symmetries: mirror (Rg—dD)

• Murchanas: Pilu (on ma)

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

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–Global Translations–

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• Carnatic: (~Kamavardhini)

S-R₁-R₂-G₂-G₃-M₁-P-D₁-D₂-N₂-S

• Jazz: Mixolydian+Lydian

1-b2-2-b3-3-4-5-b6-6-b7-8

• Pitch classes (‘fret-jumps’):

0-1-2-3-4-5-7-8-9-10-0

(1–1–1–1–1–2–1–1–1–2)

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o o o o o o • o o o o • o

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• Tanpura: Sa–Pa

• Names: Lakshmi Todi, Laksmi Todi, Laxmi Todi

—B.R. Deodhar (1966)—