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Undid edits by 1.38.48.212 (talk) to last revision by Sam Sailor: factual errors

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{{Short description|Hindustani raga}}
{{for|Carnatic [[raga]] Todi|Hanumatodi}}
{{Infobox raga
| name = Todi
| image_name =
| image_alt =
| thaat = [[Todi (thaat)|Todi]]
| type = Sampurna
| time = Late morning, 9–12
| season =
| arohana = {{ubl|S r g m d N S'
| 'd 'N S r g m d N S' or
| S r g m d P, m d N S'
| S r g m P, m d N S'}}
| avarohana = {{ubl|S' N d P m g r S|S' N d P m d m g r g r S}}
| vadi =
| samavadi =
| pakad =
| chalan =
| synonym = {{ubl|Miyan ki Todi|Shuddh Todi|Darbari Todi}} or
| equivalent = [[Shubhapantuvarali]]
| similar = [[Gujari Todi]]
}}
[[Image:Todi on C.png|thumb|Todi.<ref>Benward and Saker (2003). ''Music: In Theory and Practice'', Vol. I, p.39. Boston: McGraw-Hill. {{ISBN|978-0-07-294262-0}}.</ref> {{audio|Todi on C.mid|Play}}]]
'''Miyan ki Todi''', often simply referred to as '''Todi''' or '''Darbari Todi''' ({{IAST3|Toḍi}}), is a [[Hindustani classical]] [[raga]] which gave its name to the [[Todi (thaat)|Todi]] [[thaat]], one of the ten types of [[classical music]] according to the musicologist [[Bhatkhande]]. Ragas from the Todi raganga (class of ragas) include Todi (a.k.a. Miyan ki Todi) itself, [[Bilaskhani Todi]], [[Gujari Todi]] (also called Gurjari Todi), [[Desi (raga)|Desi Todi]], Hussaini Todi, Asavari Todi (more commonly known as [[Komal Rishabh Asavari]]), and Bahaduri Todi.

The equivalent raga in [[Carnatic music]] is [[Shubhapantuvarali]]. But in Todi, the pancham is omitted in the Arohana, whereas Shubhapanthuvarali uses the panchamam in both the arohana and avarohana. The Carnatic Melakarta [[Hanumatodi]] is the equivalent of [[Bhairavi (thaat)|Bhairavi thaat]], but the Hindustani [[Bhairavi (Hindustani)|Bhairavi raga]] is the equivalent of Carnatic [[Sindhu Bhairavi (raga)|Sindhu Bhairavi]]. Carnatic Todi does not have any similarity with Hindustani Todi (Miyan ki Todi) raga. Though the Swarasthana orders of Carnatic Thodi are similar to Hindustani Bhairavi thaat, but when the Carnatic Todi is sung it has no similarity with Hindustani Todi, Bhairavi, or Carnatic Sindhu Bhairavi.

==Aroha & Avaroha==
[[Arohana]] 
S r g M d N S' or 
'd 'N S r g M d N S' or 
S r g M d P, M d N S' or 
S r g M P, M d N S'

[[Avarohana]] 
S' N d P M g r S or 
S' N d P M d M g r g r S

==Vadi and Samavadi==
Komal Dha and Komal Ga. 
Re, ga and dha are intoned slightly low, and {{lang|hi-Latn|tivra}} ma is very sharp.<ref>Kaufmann 1968</ref>

==Pakad or Chalan==
The distinctive phrase is r/g-\r\S, where r may be subtly oscillated.<ref>Bor 1997</ref>

Pa is omitted in ascent, but present and often sustained.<ref>Bor 1997</ref>
Kaufmann mentions that some musicians would call Todi with Pa Miyan Ki Todi, but others would see no difference between Todi and Miyan Ki Todi.

Sometimes the ascent is performed without Sa, starting from Ni.

==Organization and relationships==
Miyan Ki Todi is similar to [[Gujari Todi]] and many movements are common, but in [[Gujari Todi]] Pa is omitted and there is more emphasis on Re and Dha.

Like [[Miyan Ki Malhar]] Miyan Ki Todi is said to be composed by [[Tansen]], but this seems unlikely as the Todi scale in Tansen's time was the scale of today's [[Bhairavi (thaat)|Bhairavi]] and the name Miyan Ki Todi appears first in the 19th century literature.<ref>Bor 1997</ref>

==Samay (time)==
Todi should be performed in the morning, approximately 8-10AM.<ref>Kaufman 1968, pg. 551</ref> In overnight concerts, Todi is performed as early as 4AM.

==Rasa==
[[File:Todi Ragini, Ragamala, Bundi, Rajasthan, 1591.jpg|200px|thumb|anonymous [[Ragamala painting|Ragamala]] illustration of Todi, Rajasthan, 1591]]
Todi is nearly always shown as a gentle, beautiful woman, holding a veena and standing in a lovely green forest, surrounded by deer. Kaufman cites the [[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".

Rasa in Indian classical music is understood as mood of the raga. Miyan Ki Todi is mostly pervaded by a pensive, mournful mood which is then relieved in the drut (faster tempo) part, by a festive piece, possibly to alleviate the heavy pathos in the earlier stages of rendering, though not always. The composition is such as to afford an artist of high calibre to mould it in either the inherent pensive mood or to entirely present a festive mood.

==References==
<references/>

==Literature==
*{{ Citation
| last=Bor
| first=Joep
| title=[[The Raga Guide]]
| publisher=Nimbus Records
| place=Charlottesville,Virginia
| year=1997
}}
*{{ Citation
| last=Kaufmann
| first=Walter
| title=The Ragas of North India
| publisher=Oxford and IBH Publishing Company
| place=Calcutta
| year=1968
}}
*{{ Citation
| last=Paras
| first=Ustad Parvez
| title=Todi ki rawait
| publisher=[[Lahore School of Economics]]
| place=Lahore
| year=2019
}}

==External links==
* [http://www.itcsra.org/sra_others_samay_index.html SRA on Samay and Ragas]
* [http://www.itcsra.org/sra_raga/sra_raga_that/sra_raga_that_index.html SRA on Ragas and Thaats]
* [http://www.parrikar.org/vault/ Rajan Parrikar on Ragas]
* [http://oceanofragas.com/ocean_htmlpages/Miyaki_Todi.html More details about raga Miyaki Todi]

{{Rāgas as per Performance Time}}

[[Category:Hindustani ragas]]
[[Category:Ragas in the Guru Granth Sahib]]

Todi (raga) - Revision history

imported>Ts12rAc: Undid edits by 1.38.48.212 (talk) to last revision by Sam Sailor: factual errors