S-r-g-mM-P-D-nN-S

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A seldom-heard raga said to have been invented by Kishori Amonkar, combining elements from Bairagi, Ahir Bhairav, and Bhinna Shadja. Despite these lofty origins, I can’t track down a single rendition by its apparent creator – although her disciple Raghunandan Panshikar has recorded it several times, focusing his interpretation on an Ahiri-prakriti core form of SrgmPDnS – with an uttarang reminiscent of Jaiwanti Todi, and shuddha Ni limited to specific ascending phrases (also conjuring chayas of Jogiya via Srm; mrS and Parameshwari via SnD; DnSgrm). The treasure-trove RICMP channel offers an up/down path of Srgr, SrmPD, DnD, GmDNDS; SnDP, DmP, mrmP, mrS, rgrS – although further information is hard to come by, with the detail of Amonkar’s sonic intentions remaining shrouded in mystery until an original recording may surface. In early 2026, regular project contributor Ashish Dha kindly sent in further info, gleaned from asking Raju Golwalkar: “In the Jaipur gharana, the [SrgmPDnS swara set] is known as Niranjani Todi, and in the Mewati gharana it is called Jaiwanti Todi“. Compare to other members of the Todi and Bhairav ragangas.

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राग निरंजनी तोडी

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—Raghunandan Panshikar (2010)—

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[bandish, e.g. 0:47] S(g)rm, P(DP) D(P), (m)D Pm, Sm(gPmgm) g\r(gr) g(rg)S, D(nDS) (nD)n D, (S)n (S)n/S S, SS (Sg)r (g)r (r)g\r r\SS, S(g)r r/m, (S)mm m(PmDPnDnP)m, g\r rS…

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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: (none found)

Also compare to other members of the Todi raganga

–Swara Geometries–

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• Core form: S–r–g–mM–P–D–nN–S

• Reverse: SrRgmMPDNS

• Complement: SRGdS

• Imperfect: 3 (re, Pa, Dha)

• Detached: 1 (Dha)

• Symmetries: none

• Murchanas: none

–Global Translations–

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• Carnatic: (~Divyamani)

S-R₁-G₂-M₁-M₂-P-D₂-N₂-N₃-S

• Jazz: Dorian b2 (dbl. 4th/7th)

1-b2-b3-4-#4-5-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-1-3-5-6-7-9-10-11-0

(1–2–2–1–1–2–1–1–1)

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o o • o • o o o • o o o o

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• Tanpura: Sa–Pa (+Dha)

• Names: Niranjani Todi, Neeranjani Todi

• Transliterations: Hindi (निरंजनी तोडी)

—Kishori Amonkar (~1990s)—

(^ the ‘normal’ Todi: I can’t find any of her Niranjani renditions…)