Parvez begins with a serene alap of this morning raga, delineating its contours with expressive embellishments over his murkis and meends of varying weights. From the calming effect of the alap, he traverses towards a stunning jod, combining the technical virtuosity of tantrakari with profound and intricate explorations of the raga.
Pandit Yogesh Samsi gives a remarkable accompaniment on the tabla, mapping his rejoinders, solos and improvisations accurately to the soulful and virtuosic rendition of Ustad Parvez.
The vilambit gat is set to a cycle of 16-beat Teental which is demonstrated with exceptional laykari. This is followed by a drut gat in Ektaal and then another drut gat in Teental.
From a serene exposition of the raga to an electrifying culmination with lightning speed taans, Ustad Parvez takes his audience on an amazing journey in this recital. Pandit Samsi’s accompaniment gives a revealing account of his ability to blend in completely into the characteristics of his co-artist, thereby giving a new experience to his listeners with each accompaniment.
Raag Mian Ki Todi belongs to the Todi family. It is also another name for Raag Todi, Shudh Todi or Darbari Todi. It is a sampurna raga, that is, it uses all notes in its ascent and descent. The dominant or vadi swara is Dha (6th) and the sub-dominant or samvadi swar is Ga (3rd). Its arohana and avarohana are as follows:
Sa r g Ma’ Pa dha Ni Sa
Sa Ni dha Pa Ma’ ga re Sa
Ustad Shahid Parvez (sitar)
Pandit Yogesh Samsi (tabla)
Debipriya Das (tanpura)
Raag Mian Ki Todi, Thaat: Todi, Samay: Morning