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)


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.


Ascending structure for Mian Ki Todi
(general discussion of arohana) - (general discussion of notation)


Descending structure of Mian Ki Todi
(general discussion of avarohana)


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


Morning - (general discussion of time and rag)


Todi That - (general discussion of that)


pakad for Mian Ki Todi
(general discussion of pakad)


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

For more information check out "Elementary North Indian Vocal"



Selected Video

Bismillah Khan sings Miya Ki Todi


Ustad Bade Ghulam Ali Khan - Mian Ki Todi, Bihag, interview


N. Rajam Violin


Pt. Bhimsen Joshi & Ustad Rashid Khan- Miyan ki todi


Kartik Kumar - Miyan ki Todi


Sanjeev Abhayankar Raag Miyan-ki-todi 1/3


Sanjeev Abhayankar Raag Miyan-ki-todi 2/3




© 1998, 1999, 2000, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017 David and Chandrakantha Courtney

For comments, corrections, and suggestions, kindly contact David Courtney at david@chandrakantha.com