Learn Late Morning Raag Todi

Raag Todi Specs:

Thaat: Todi
Aarohi: S r g M d N S'
Amrohi: S' N d P M g r S
Vadi: d
Samvadi: g
Pakard: 'd 'N S, r g, M d N d P, r g r, S
Time: 9 am – 12 pm
Zaat: Shadav – Sampuran


Right off, I want you to know that Todi is very often called Miyan Ki Todi. Yes, they are one and the same Raag. It so happens that any Raag that Miyan Tansen would create or change from it’s original state, would usually have his name on that Raag. I guess, it was a very wise decision on his part since a hundred and some years prior, Hazrat Ameer Khusro has been known to have created dozen or so Raag. None of them had his name on them, and so they became legends without any proof.

As for the moods of Todi, it is definitely one of sadness and longing. Todi closely resembles Raag Multani as well as Gujari Todi. In fact, many new students often Gujari Todi for Miyan Ki Todi.

As for it’s application, there are few things to note. Todi is not a new comers Raag. It’s not the hardest, but it needs a skilled musician to understand it’s nuances. For one, it ascent, r and g are be down played a bit. In contrast, the M is very clearly portrayed a Tayvar. However, these in coming down the Sargam, the notes are sung normally.

In Pakad, notice the r g r S. Note how the r almost oscillates. It’s subtle, but it’s a defining phrase of Todi. Another very common phrase is 'd g r g r S. But be sure to Meend your Sur from 'd to g, not an abrupt change. Also, in most cases, P is simply not used in Aroh, but some people do use it. Both are fine!

Raag Todi is said to have been composed by Miyan Tansen. I have no reason to doubt this. However, I want to bring your attention to a very less known fact about Todi. Yes, it’s known to be mournful, intense, tearful, and so on. But the composition has to be two sided. Primarily, it will show all the “obvious” moods of Raag Todi. However, in it’s secondary part, the composition needs to bring the listener to a faster rhythmic, and alleviate the tension.

Yes…Todi has the capacity to show the state of sadness, but also gratefulness when the longing has ended. This lessor known fact about Raag Todi is what many musicians have lacked over centuries. And it is this very nature of Todi that captivates me personally. To explain to my Muslim friends, the mood of Raag Todi often reminds me of a verse:

Surly, With Hardship Comes Ease. – Holy Quran 94:6

Yes, in Todi, they go hand in hand. The composition starts off from pain but ends in a relief.


Ae Ri Main Toh Prem Deewani

Insaan Bano Karlo

Jab Tum Hi Hame

Jago Re Jago Prabhat Aaya

Jis Din Se Piya Dil Le Gaey

Main To Ik Khwab Hoon

Raina Beeti Jaye by Sarmistha Chakravorty

Sun Rasiya Kahe Ko Jalaey Jiya

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