Todi (raga)

Last updated
Ragini Todi - Google Art Project.jpg
Thaat Todi
Time of dayLate morning, 9–12
  • S     N 
  • Ḏ̣  S     N 
  • S     P,  N 
  • S    P,  N 
  •  N  P    S
  •  N  P        S
  • Miyan ki Todi
  • Shuddh Todi
  • Darbari Todi
Equivalent Shubhapantuvarali
Similar Gujari Todi
The Musical Mode: Ragini Todi. Ascribed to a Master of the Second Generation after Nainsukh, c. 1825-30. Government Museum and Art Gallery, Chandigarh The Musical Mode - Ragini Todi.jpg
The Musical Mode: Ragini Todi. Ascribed to a Master of the Second Generation after Nainsukh, c. 1825-30. Government Museum and Art Gallery, Chandigarh
Todi. Play (help*info) Todi on C.png
Todi. Loudspeaker.svg Play  

Miyan ki Todi, often simply referred to as Todi or Darbari Todi (IAST : Toḍi), is a Hindustani classical raga which gave its name to the Todi thaat, one of the ten types of classical music according to the musicologist Bhatkhande. Ragas from the Todi raganga (class of ragas) include Todi (a.k.a. Miyan ki Todi) itself, Bilaskhani Todi, Gujari Todi (also called Gurjari Todi), Desi Todi, Hussaini Todi, Asavari Todi (more commonly known as Komal Rishabh Asavari), and Bahaduri Todi.


The equivalent raga in Carnatic music is Shubhapantuvarali. But in Todi, the pancham is omitted in the Arohana, whereas Shubhapanthuvarali uses the panchamam in both the arohana and avarohana. The Carnatic Melakarta Hanumatodi is the equivalent of Bhairavi thaat, but the Hindustani Bhairavi raga is the equivalent of Carnatic Sindhu Bhairavi. Carnatic Todi does not have any similarity with Hindustani Todi (Miyan ki Todi) raga. Though the Swarasthana orders of Carnatic Thodi are similar to Hindustani Bhairavi thaat, but when the Carnatic Todi is sung it has no similarity with Hindustani Todi, Bhairavi, or Carnatic Sindhu Bhairavi.

Aroha & Avaroha



Vadi and Samavadi

Komal Dha and Komal Ga.
Re, ga and dha are intoned slightly low, and tivra ma is very sharp. [2]

Pakad or Chalan

The distinctive phrase is r/g-\r\S, where r may be subtly oscillated. [3]

Pa is omitted in ascent, but present and often sustained. [4] Kaufmann mentions that some musicians would call Todi with Pa Miyan Ki Todi, but others would see no difference between Todi and Miyan Ki Todi.

Sometimes the ascent is performed without Sa, starting from Ni.

Organization and relationships

Miyan Ki Todi is similar to Gujari Todi and many movements are common, but in Gujari Todi Pa is omitted and there is more emphasis on Re and Dha.

Like Miyan Ki Malhar Miyan Ki Todi is said to be composed by Tansen, but this seems unlikely as the Todi scale in Tansen's time was the scale of today's Bhairavi and the name Miyan Ki Todi appears first in the 19th century literature. [5]

Samay (time)

Ragamala painting of Todi, circa 1775-1800. Todi Ragini, Second Wife of Hindol Raga, Folio from a Ragamala (Garland of Melodies) LACMA M.77.130.1.jpg
Ragamala painting of Todi, circa 1775-1800.

Todi should be performed in the morning, approximately 8-10AM. [6] In overnight concerts, Todi is performed as early as 4AM.


Todi is nearly always shown as a gentle, beautiful woman, holding a veena and standing in a lovely green forest, surrounded by deer. Kaufman cites the Sangita-Darpana "With a fair erect body like the white lotus, and delicate like the gleaming dew drop, Todi holds the vina and provides fun and frolic to the deer deep in the forest. Her body is anointed with saffron and camphor".

Rasa in Indian classical music is understood as mood of the raga. Miyan Ki Todi is mostly pervaded by a pensive, mournful mood which is then relieved in the drut (faster tempo) part, by a festive piece, possibly to alleviate the heavy pathos in the earlier stages of rendering, though not always. The composition is such as to afford an artist of high calibre to mould it in either the inherent pensive mood or to entirely present a festive mood.

Related Research Articles

<span class="mw-page-title-main">Hanumatodi</span>

Hanumatodi, more popularly known as Todi, is a rāgam in Carnatic music. It is the 8th melakarta rāgam in the 72 melakarta rāgam system. This is sung very often in concerts. It is a difficult rāgam to perform in owing to its complexity in prayoga. It is called Janatodi in Muthuswami Dikshitar school of Carnatic music. Its Western equivalent is the Phrygian mode. Todi in Carnatic music is different from Todi (thaat) of Hindustani music. The equivalent of the Hindustani raga Todi in Carnatic music is Shubhapantuvarali. The equivalent of Carnatic Todi in Hindustani is Bhairavi thaat in terms of notes, but the two sound very different due to differing uses of gamakas.

A Thaat is a "Parent scale" in North Indian or Hindustani music. The concept of the thaat is not exactly equivalent to the western musical scale because the primary function of a thaat is not as a tool for music composition, but rather as a basis for classification of ragas. There is not necessarily strict compliance between a raga and its parent thaat; a raga said to 'belong' to a certain thaat need not allow all the notes of the thaat, and might allow other notes. Thaats are generally accepted to be heptatonic by definition.

<span class="mw-page-title-main">Madhuvanti</span>

Madhuvanti is a raga used in Indian classical music. It is a Hindustani music raga, which is reported to have been borrowed into Carnatic music, and is structurally similar to Multani.

<span class="mw-page-title-main">Devagandhari</span> A Janya raga of Carnatic music

Devagandhari is a raga in Indian classical music. In carnatic classical music, Devagandhari is a janya raga, whose melakarta raga is Shankarabharanam, 29th in the 72 Melakarta raga system. This is not to be confused with Karnataka Devagandhari, which is a janya of Kharaharapriya similar to Abheri.

Darbari Kanada, or simply Raga Darbari,, is a raga in the Kanada family, which is thought to have originated in Carnatic music and brought into Hindustani classical music by Miyan Tansen, the legendary 16th-century composer in emperor Akbar's court. This tradition is reflected in the name itself; Darbar is the Persian derived word in Hindi meaning "court." As the most familiar raga in the Kanada family, it may sometimes also be called Shuddha Kanada or pure Kanada. It belongs to the Asavari thaat. This raag is called raaga Kaanada in Yakshagana Karnataka state dance

<span class="mw-page-title-main">Bhairavi (Hindustani)</span>

Bhairavi is a Hindustani Classical heptatonic (Sampurna) raga of Bhairavi thaat. In Western musical terms, raga Bhairavi employs the notes of the Phrygian mode, one of the traditional European church modes. Many Indians growing up during 1980s and 1990s will instantly recognize raag Bhairavi as it is the dominant note in popular Doordarshan video 'Mile sur mera tumhara'.

Raga Bageshri or Bageshree is a Hindustani classical raga. It is a popular night raga, which is meant to depict the emotion of a woman waiting for reunion with her lover. It is said to have been first sung by Miyan Tansen, the celebrated court singer of the Emperor Akbar in the sixteenth century.

<span class="mw-page-title-main">Abhogi</span>

Abhogi is a raga in Carnatic music and has been adapted to Hindustani music. It is a pentatonic scale, an audava raga. It is a derived scale, as it does not have all the seven swaras. Ābhōgi has been borrowed from Carnatic music into Hindustani music and is also quite popular in the latter.

Ahir Bhairav is a Hindustani classical raga. It is a mixture of Bhairav and the ancient, rare raga Ahiri or Abhiri, or perhaps a mixture of Bhairav and Kafi.

<span class="mw-page-title-main">Asavari</span>

Raga Asavari is a Hindustani classical raga. It belongs to the Asavari thaat and is performed in the morning hours.

Bhupal Todi or Bhoopal Todi is a Hindustani classical raga. This raga is quite different from Bhopali. The Carnatic music equivalent of Bhupal Todi musical scale is Bhupalam.

Bilaskhani Todi is a Hindustani classical raga. It is a blend of the ragas Asavari and Todi, and has a close affinity with Komal Rishabh Asavari.

Marva or Marwa is a hexatonic Indian raga; Pa is omitted. Marva is the eponymous raga of the Marva thaat.

<span class="mw-page-title-main">Natabhairavi</span>

Naṭabhairavi is a rāgam in Carnatic music. It is the 20th melakarta rāgam in the 72 melakarta rāgam system. It corresponds to the Natural minor scale of western music system.

<span class="mw-page-title-main">Sindhu Bhairavi (raga)</span>

Sindhu Bhairavi is a raga in Hindustani and Carnatic classical music, belonging to the Asavari thaat. In Carnatic music it is a Janya raga of the 8th melakartha raga Hanumatodi.

Todi is one of the ten basic thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.

Multani is a Hindustani classical raga. The newer raga Madhuvanti was inspired by Multani. Multani belongs to Todi Thaat. It is generally sung in the third prahar of the day, that is, around 1 PM to 4 PM.

<span class="mw-page-title-main">Asaveri</span>

Asaveri (asāvēri) is a rāgam in Carnatic music. It is a janya rāgam from the 8th melakarta scale Hanumatodi. It is a janya scale, as it does not have all the seven swaras in the ascending scale, and has a vakra (zigzag) descending scale.

Komal Rishabh Asavari, often simply called Asavari, is a raga in Hindustani classical music. As its name suggests, it differs from the raga Shuddh Rishabh Asavari by using a komal ("flat") re while Asavari uses a shuddha (natural) re. It is believed that Komal Rishabh Asavari was the original form of Asavari.


  1. Benward and Saker (2003). Music: In Theory and Practice, Vol. I, p.39. Boston: McGraw-Hill. ISBN   978-0-07-294262-0.
  2. Kaufmann 1968
  3. Bor 1997
  4. Bor 1997
  5. Bor 1997
  6. Kaufman 1968, pg. 551