One of the more popular varieties of Todi, this beautiful raga is said to have originated in Gurjar region (Gujarat). This is also known as Goojri Todi.
Thhaat (parent scale)
Todi
Jaati:
Shaadav-Shaadav (6-6 notes in ascent-descent)
Vaadi:
Komal Dhaivat (d)
Samvaadi:
Komal Rishabh (r) [Komal Gandhar (g) according to some]
Swaras:
Komal Rishabh-Gandhar-Dhaivat, teevra Madhyam, rest shuddh swaras, Pancham is dropped in both ascent and descent.
Aaroh (ascent):
S r g m d N S’ (Western Notes: C C# D# F# G# B C)
Avaroh (descent)
S’ N d m g r S (Western Notes: C B G# F# D# C# C)
Key phrases:
S, d.n.Srg, rgmg, dmgr-grS, mdNS’r’S’, NdmdNdmgr,grS
Mood:
Somber with raudra rasa, desolate
Time:
Late morning
Olden treaties describe this as the ragini of Bhairav; but modern view differs and treats it as a variety of Todi which drops Pancham completely; especially to stay at a safe distance from Miyan ki Todi. Though accepted as a raga depicting powerful raudra rasa, this can also evoke a barrage of pathos (as interpreted by Ustad Amir Khan, especially in ‘Man ke panchhi’).
Bibliography
1. Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
2. Ustad Amir Khan pioneer of Indore Gharana by Pandit Tejpal Singh
Links
- Ustad Amir Khan (vocal)
- Ustad Bade Ghulam Ali Khan (vocal)
- Ustad Ali Akbar Khan (sarod)
- Ustad Sultan Khan (sarangi)
- Ustad Amjad Ali Khan (sarod)
Begum Parveen Sultana performing Raag Gujari Todi with Partha Sarathi Mukherjee (tabla) and Chiranjib Chakraborty (harmonium) at Darbar Festival 2007.
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