User:Agra musician

another prakad of todi---lachari todi Raga : lachari todi

So here is our grip to the 3rd rare raga : lachari todi.this raga has no hair of todi and hence naming of the raga went wrong.but the interesting fact is it falls on todi that (asawari that across gharana boundaries).the gunijans of shastriya sangeet presents varieties of ideas of this raga.speaking frankly,lachari todi is a complicated and debated one.so,lets see what are the main necessities :-

Considering dha/ as komal dhaivat;ni/ as komal nishad ; ga/ as komal gandhar

Arohan:--sa re ga re re ga ma ,ma pa ni/ dha/ ni/ dha pa sa.

Avrohan:--sa. Re. ni dha pa, ni/ dha/ pa, ma pa ma ga/, ma ga/ re ga/ sa

Jaati of the raga is shampurna i.e. it uses seven notes both in arohan and avrohan.its a highly vakra raga.presentation time of lachari todi is between 9 am – 12pm.

Mool(main) swara clusters (sangatis) are :--sa re ga/ ga ma pa dha/ ni/ ni;many uses both the dhaivats.

an artist of patiala (perhaps of ustad kale khan or ustad bade ghulam ali khan in a private mehfil in kolkata) used this swaras in lachari todi:-- Sa re ma pa ,pa dha/ pa, dha/ ma pa, ni/ dha pa,ma pa ga ma pa, ma pa ma ga/,re ga/ re sa, re ni/. Sa. in his saying komal gandhar is varjit (eliminated in arohan) and no shuddha nishad is used.

but the use of both gandhars and dhaivats is more common in circulation and in old music related text books.

The agra gharana musicians, as usual maintains their prosperity and is distinguished.ustad faiyyaz khan sahib and ustad vilayat hussain khan’s recordings are the only available recordings.ustad faiyyaz khan’s lachari todi “a perfect delight” in almost 20 minutes including alap and dhamar"jobat sari rang ragi".approach of shuddh gandhar via komal gandhar(in slight desi form)is exiciting and the sam falls even falls there.he performed mainly these swara clusters in madhya saptak:-ga/(komal gandhar) re ga(shuddh gandhar),ma pa ga/,pa ga/ re ga(shuddh gandhar),dha ga/. in taar saptak to madhya saptak:-ni sa(taar) re,sa(taar) dha ni/(komal nishad) pa .mandra saptak was done by the notes:-pa dha ni/ sa.

thisrdly,a 28 minutes lachari todi of vilayat hussain khan from all india radio exists.khayals are in vilambit ektaal and jhaptaal"eri e langar tuka bat man".he did the alap:-ni/ sa,ga/ re sa,sa re ga ma pa ma pa,pa dha ,dha ma pa ga/ re ga/ sa.the drut teentaal composition is "kaise ke jaun apne" the taan is like:-ma pa dha ga/ re ga ma pa dha.infact there is little difference between the renditions of vilayat hussain khan and faiyaz khan("aftab-e-mousiki") a composition of ustad vilayat hussain khan aka"pranpiya" is given below:-

raga:-lachari todi

kal na parata mohe,tarpata hun mein din raina (sthayi ki bol) pranpiya mose ruth gai hai,kaisa parata more jia chaina(antara ki bol)

So here was a discussion on lachari todi.perhaps, bahaduri todi another rare version would be discussed.in our next venture

by then bye bye!!!

Anuran