#include <Hindustani music>

Todi is an austere morning raga in the Hindustani system of music. Todi is a thAT (framework) raga and so apart from Todi itself (also known as Miyan ki Todi or Shuddh Todi) there are many beautiful ragas derived from it.

In Todi, Re, Ga and Dha are komal, and Ma is tivra. Being a thAT raga, Todi is by definition sampoorna; however, it is customary in most styles to omit Pa in the aroh for aesthetic reasons. The vadi-samvadi of this raga are disputed; some consider the vadi to be Dha, while others consider it to be Ma. Most musicians consider Ga to be the samvadi. The relationship and interaction between Re and Ga is very important in Todi. Arriving at Ga with a touch of Re and sliding from Ga to Re before dissipating on Sa are both vital Todi movements.

Within Todi thAT, Gujari Todi is very similar to Todi itself, differing only in that Pa is entirely omitter. Other ragas in Thodi thAT include Bilskhani Todi, Bhoopali Todi, and Bahaduri Todi, plus countless others. If you would like to know more about this raga, please visit the sawf.org source cited below; it includes much more technical information, and more importantly, numerous clips of the great masters performing this raga.

Sources:

http://www.sawf.org/bin/tips.dll/gettip?user=Sawf&class=EZine&tipid=6762&pn=Contributors&arch=1
http://chandrakantha.com/raga_raag/mian_ki_todi/miyan_ki_todi.html
The Raga Guide, ed. Joep Bor. Published by Nimbus Records with the Rotterdam Conservatory of Music

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