As the name suggests, rag Bahaduri todi belongs to the Todi family. The rag is mainly favoured by the vocalists of Jaipur – Atrauli gharana.
Tone material: S r R g m P d n
Two versions of this rag are in vogue and the tonal material given here is representative of the variety of Bahaduri todi presented on the accompanying recording by Aslam Khan, in which both flat and natural Re are included. This variety can be regarded as a mixture of Todi and Bhairavi (Patwardhan [Rag vidnyan V] 1962: 236). In addition, there is some semblance to rag Deshi (vide) with a phrase like R g S R n S.
Generally, natural Re is used in ascent, whereas the descent includes flat Re. As is evident from this recording, both Re-s can be oscillated. r g r s is a phrase indicative of its affiliation to Todi family. Ga and Dha are prominent notes and can be sustained. Ma can also be held in a typical movement – S m, whereas it is avoided in a movement – g P. Many phrases end on Pa.
Some characteristic phrases:
r \n d S
n- S R g SR g –
g p m d P n d ~ P
R, g- r S
Other version of Bahaduri todi has flat Re, Ga, Dha and Ni and includes sharp Ma in addition to natural Ma (ibid: 240). The variety of Bahaduri todi presented here has similarity to rag Bhairavi (vide) and rag Bilaskhani todi (vide). However, emphasis on Ga with the characteristic phrase S R g R g makes Bahaduri todi stand apart. Moreover, in Bhairavi, often other chromatic notes are also included, which is not the case in Bahaduri todi. The presence of natural Re makes Bahaduri todi distinct from Bilaskhani todi.
Time: late morning (ibid: 236)
Performance by Aslam Khan
Composition: bada khayal
अजब तेरी शान मेहरबान
अाला अवल तू सुभान
हाजी हकीम करीम तू जगको
शादी खान तेरे दरको बुलावे
The composition is in praise of the almighty and his omnipotent presence and grace.
The composition is attributed to Shadi Khan, who seeks his blessing.
Tal: Jhumra (slow tempo)
4-10:Performance opens with a typical phrase – r \n d S
17-22: Similar phrase recurs, however with oscillations on Re and Ni. Note the oscillating Re occupying space between the flat & natural positions
22-28: Characteristic phrase – n S R g SR g. Note the touch of Sa for the second occurrence of Re. This movement recurs throughout the performance
35-36: Ma approached from Sa, whereas it is omitted in g P (46-50)
56-59: Oscillations on Dha, the phrase ends on Pa
84: Composition begins. Note the refrain with the typical phrase -n S R g R g – r S
135: The first line is repeated
171- 178: R g, S R, n S – a phrase giving impression of rag Deshi
193: Improvisations in the middle octave using the vowel “aa”
226-271: Pa is in focus. Note the use of some words of the composition (bol alap) interspersed with the use of “aa”
287-292: P -m d P n d P, one of the characteristic movements
321-323: A phrase including oscillating notes (gamak)
327-361: Improvisation continues using words of the composition and the vowel “aa”
367-405: Pace of the movements increases and some of them use oscillatory effect
410: High Sa is approached and explored with movements including the notes beyond as a prelude to the second part of the composition (antara)
448-481: Second part of the composition