S-r-g-P-d-n-S

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An invention of vocalist Kumar Gandharva, lying between Bhupali Todi and Bilaskhani Todi via the addition of an avroh komal ni to the former (or the subtraction of ma from the latter). His original renditions linger patiently on the komal re (intoned with a noticeably higher sruti than usual), and often avoid rising more than a few tones above mandra saptak for long stretches (dS, Srgr). Pa tends to be weak, and is suppressed entirely for extended portions of his explorations. While I can’t source much in the way of firsthand melodic instructions, the Gandharva-themed 2023 Kaaljayee Festival featured “aesthetic decor of the stage, which had notations of the maestro’s composition in Saheli Todi in the backdrop” (blurrily visible here).

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—Kumar Gandharva (1961)—

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[bandish, e.g. 1:13] Srg(rg)r, g(rg)rS S(nd), dS, Srg g(rS), Srg\rr(S), Srg(rSr)SS, dS, (r)grS, d(n)d, dSrgrS(nd), dndd, dSS(d), (d)Srg rS S(nd), dSr(S), dSr, dSr, dS(nd)…

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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.

–Swara Geometries–

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• Core form: S-r-g-P-d-n-S

• Reverse: SRGmDNS (=none)

• Inverse: Ni; SgmMPnS (=blues scale!)

• Imperfect: 2 (Pa, ni)

• Detached: none

• Symmetries: none

• Murchanas: none

–Global Translations–

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• Carnatic: (~Bhavapriya)

S-R₁-G₂-P-D₁-N₂-S

• Jazz: Phrygian (no 4th)

1-b2-b3-5-b6-b7-8

• Pitch classes (‘fret-jumps’):

0-1-3-7-8-10-0

(1–2–4–1–2–2)

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o o • o • • • o o • o • o

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• Tanpura: Sa–Pa

• Names: Saheli Todi

—Tanavi Jagdale (2023)—