This is an ancient raga but many believe that this was first sung by Miyan Tansen (16th century) in Emperor Akbar’s royal court; and that is why it is called Miyan ki Todi. Acoording to some this is Todi or Shuddh Todi or Darbari Todi. However, all represent the Todi parent scale, corresponding to Shubhapantuvarali Mela of Carnatic music system.
Thhaat (parent scale)
Todi
Jaati:
Sampoorna (heptatonic)
Vaadi:
Komal dhaivat (d)
Samvaadi:
Komal gandhar (g)
Swaras:
Komal rishabh ( r ), gandhar (g) and dhaivat (d); Teevra madhyam (m); rest shudhh swaras
Aaroh (ascent):
S r g m P d N S’ (Western notation: C C# D# F# G G# B C )
Avaroh (descent)
S’ N d P m g r S (Western notation: C B G# G F# D# C# C )
Key phrases:
d, .n.S, r g r S, N.S r g, r g, m g, r g r S, m P d P, m P d m g, r g r S, N d g r g, d m g r g r S
Time:
Late Morning
Both Todi and Gurjari Todi are near-identical siblings. According to Bhatkhandeji, the removal of P (pancham) from Todi leads to Gurjari Todi while Pancham plays a sparing yet important role in Todi. This pathos-ridden raga has a somber character and yet it is hugely popular for its romantic mood. As such its presence is widely seen in other genres of Hindustani music as well.
Bibliography
1. Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
2. The Oxford Encyclopedia of the Music of India
3. The Raga-ness of the Ragas by Deepak Raja
Links
1. Ustad Amir Khan (vocal)
2. Ustad Ali Akbar Khan (sarod)
3. Ustad Vilayat Khan (sitar)
4. Pandit Kaivalya Kumar Gurav (vocal)
Ustad Shahid Parvez performs Raag Miyan ki Todi at Darbar Festival 2007 accompanied by Pandit Yogesh Samsi (tabla) and Debipriya Das (tanpura).
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