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Rag Mian Ki Todi

by David Courtney working tools

Ragmala Painting of Rag (Ragini) Todi (Kangra, Pahadi - circa A.D. 1790)
Ragmala Painting of Rag (Ragini) Todi (Kangra, Pahadi – circa A.D. 1790)

Description

Todi, also known as Mian-ki-Todi (Miyan-ki-Thodi), is a very common morning rag.  However, there is a certain disagreement as to its structure.  According to some, all seven notes are used in both the ascending and descending structures; according to this approach, this rag is sampurna – sampurna.  Others suggest that the Pa is absent in the arohana but present in the avarohana; according to this approach this rag is shadav – sampurna.  Here we are presenting the sampurna – sampurna version.  There is also disagreement concerning the vadi and the samvadi.  Some consider the vadi to be Dha while others consider it to be Ma.  Many musicians consider the samvadi to be Ga.



Arohana

Ascending structure for Mian Ki Todi

(general discussion of arohana)(general discussion of notation)


Avarohana

Descending structure of Mian Ki Todi

(general discussion of avarohana)


Jati

Sampurna – Sampurna (disputed) – (general discussion of jati)


Vadi

Disputed – (general discussion of vadi)


Samvadi

Disputed – (general discussion of samvadi)


Time

Morning – (general discussion of time and rag)


That

Todi That – (general discussion of that)


Pakad

pakad for Mian Ki Todi

(general discussion of pakad)


Drone

Sa-Pa or Sa-Komal-Dha – (general discussion of drone)


Popular Songs

Film songs in Mian ki Todi


For more information check out “Elementary North Indian Vocal: Vol 1” and “Elementary North Indian Vocal: Vol 2”



Selected Video



Other Sites of Interest

Indian Classical Music: Tuning and Ragas

Modes and Ragas: More Than just a Scale

Emotional responses to Hindustani Raga music: The role of mus­ical struc­ture

Automatic Raga Recognition in Hindustani Classical Music

Patrick Moutal. A Comparative Study of Selected Hindustānī Rāga-s based on Contemporary Practice

Automatic Tonic Identification in In­dian Art Music: Approaches and Evaluation