• Raag Niranjani Todi •


A seldom-heard invention of Kishori Amonkar, combining elements from Bairagi, Ahir Bhairav, and Bhinna Shadaj. Despite these lofty origins, I can’t track down a single rendition by its creator – although her disciple Raghunandan Panshikar has recorded it several times, focusing his interpretation on a Jaiwanti Todi-like uttarang, and limiting shuddha Ni to specific ascending phrases (also conjuring chayas of Jogiya via Srm; mrS and Parameshwari via SnD; DnS(g)rm). 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. Also see the nearby Ahiri Todi.

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—Raghunandan Panshikar (2010)—

[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…


• Classifiers •

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 | 32Enclosed | 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.


• Prakriti: (none found)


–Swara Geometries–

Core form: SrgmMPDnNS
Reverse: SrRgmMPDNS
Negative: 6-2-4
Imperfect: 3 (re, Pa, Dha)
Detached: 1 (Dha)
Symmetries: none
Murchanas: none


–Global Translations–

Carnatic: (~Divyamani)
Jazz: Dorian b2 (dbl. 4th/7th)
Pitch classes (‘fret-jumps’):

o o • o • o o o • o o o o


• Tanpura: Sa–Pa (+Dha)
• Names: Niranjani Todi, Neeranjani Todi


—Kishori Amonkar (~1990s)—
(^ the ‘normal’ Todi: I can’t find any of her Niranjani renditions…)




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Hindustani Raga Index

An open-ended project seeking to bring North Indian raga closer to all who approach with open ears. Combines direct input from dozens of leading Hindustani artists with in-depth insights from music history, global theory, performance practice, cognitive science, and much more! [out 2023-24]

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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

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