Raag Miyan Ki Todi, often referred to simply as Todi, is a profound and evocative raga of the Hindustani classical music tradition. Its serene yet melancholic nature makes it one of the most emotionally moving morning ragas. Traditionally performed in the second prahar of the day (8 AM to 10 AM), this raga creates a meditative atmosphere filled with devotion (Bhakti Ras) and sorrow (Karun Ras).
Though widely known as “Miyan Ki Todi”, the historical evidence for its attribution to Miyan Tansen, the legendary musician of Akbar’s court, is uncertain. The term “Miyan Ki Todi” emerged in music literature only in the 19th century. The Todi scale in Tansen’s era was closer to today’s Bhairavi Thaat, suggesting that this name might be honorary rather than historical.
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Raag Miyan Ki Todi (Todi)
The Morning Raga of Bhakti and Pathos
Raag Miyan Ki Todi, often referred to simply as Todi, is a profound and evocative raga of the Hindustani classical music tradition. Its serene yet melancholic nature makes it one of the most emotionally moving morning ragas. Traditionally performed in the second prahar of the day (8 AM to 10 AM), this raga creates a meditative atmosphere filled with devotion (Bhakti Ras) and sorrow (Karun Ras).
Though widely known as “Miyan Ki Todi”, the historical evidence for its attribution to Miyan Tansen, the legendary musician of Akbar’s court, is uncertain. The term “Miyan Ki Todi” emerged in music literature only in the 19th century. The Todi scale in Tansen’s era was closer to today’s Bhairavi Thaat, suggesting that this name might be honorary rather than historical.
Raga Structure
There are varied interpretations of the raga’s scale, leading to slight differences in presentation among gharanas. However, the generally accepted version is Sampurna-Sampurna (all seven notes in both ascent and descent), though some styles treat it as Shadav-Sampurna (six notes in ascent, seven in descent) by omitting Pancham (Pa) in the ascent.
Swaras Used
Komal (flat): Re (r), Ga (g), Dha (d)
Tivra (sharp): Ma (M)
Shuddha (natural): Sa (S), Ni (N), Pa (P) – used selectively
Vadi (most prominent note): Komal Ga (g)
Samvadi (second-most prominent note): Komal Dha (d)
Arohana (Ascent) – Variants
S r g M d N S’
’d ’N S r g M d N S’
S r g M P, M d N S’
S r g M d N S’ (most accepted)
Avarohana (Descent)
S’ N d P M g r S
S’ N d P M d M g r g r S
Key Phrases (Pakad/Chalan)
r g M d N S’
r g ; g r ; g r S
M d N ; M d N S’
r/g-\r\S (oscillation from Re to Ga and back is signature)
Note: Gandhar (Ga) is often rendered Ati Komal (extra flat), producing a distinctive melodic gravity.
Pancham (Pa) – Special Treatment
Pancham is alpatva (used sparingly). In ascent, it’s generally omitted to avoid confusion with Raag Gurjari Todi, where Pa is entirely absent. However, in the descent or in expressive improvisation (vistar), Pa may appear as a passing note, carefully sustained.
Mood and Rasa
Raag Todi is steeped in a pensive and devotional mood. It evokes an inner stillness, often described as poignant, meditative, and deeply emotional. While the vilambit (slow tempo) portion is reflective and mournful, the drut (fast tempo) compositions often bring a contrasting celebratory or uplifting feel.
Ragamala Description (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.”
Iconography
Todi is visually represented as a gentle, beautiful woman holding a veena, standing in a verdant forest, surrounded by deer. This representation reflects the raga’s soothing, introspective, and natural essence.
Performance Time (Samay)
Morning Raga: Second Prahar (8 AM – 10 AM)
In overnight concerts: May be performed as early as 4 AM
Related Ragas and Variants
Gurjari Todi – Similar structure but omits Pancham altogether
Bhupal Todi – A pentatonic (Audav) form
Bilaskhani Todi – A blend of Todi and Bhairavi flavors
Todi Ang is also found in Thumri and semi-classical styles.
Sample Bandish Combinations
Raag Miyan Ki Todi is not just a melodic scale—it’s a spiritual experience. It captures the subtlety of dawn, the anguish of longing, and the tranquility of devotion. For the performer, it offers a wide canvas for emotional and technical expression; for the listener, a portal to deep introspection.
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