The Automated Transcription for Indian Music (AUTRIM) Project by NCPA and UvA

Miyan ki todi

Rag Miyan ki todi is one of the important rag-s of the Todi family. It is supposedly a creation of the legendary vocalist Miyan Tansen, one of the nine jewels in the court of the great Emperor Akbar. Sometimes it is simply referred as Todi.

Tone material: S r g M P d N

The ascent and descent can be very straight forward. However r g r S,  which is a phrase typical for rag-s of Todi family, is added as a concluding phrase in the descent. Both Re and Ga are quite flat and the flat Dha is an important note in this rag. Pa is quite prominent and can be used either in ascending movement like M P D – M g or in descending manner like M d P, when it becomes a resting noter. Most movements in this rag are around Pa and beyond.

Some characteristic phrases:
r g r \S
r g M d -P
M d M g
M d /S

Miyan ki todi has the same tonal material as Gujari todi (vide) except for Pa, which is omitted in Gujari todi. Many movements are common to both rag-s.  Miyan ki todi has the same tonal material as rag Multani (vide). However, melodic movements in these rag-s are distinctly different.
Many musicians consider Miyan ki todi to be the “original” todi. Yet, historically, Todi with natural ma and flat ni (vide Bilaskhani todi). Todi family includes a large number of rag-s: Miyan ki todi, Gujari todi, Bilaskhani todi, Deshi todi (vide), Bhupal todi (vide). lesser known varieties include Bahaduri todi (vide), Khat todi (vide), Lachari todi, Lakshmi todi, Anjani todi and many more.

Time :  late morning (Bhatkhande [KPM I) 1979: 55)

Further listening:
Krishnarao Pandit ECSD 2433

Faiyaz Khan EALP 1292
Kesarbai Kerkar 7ERE I
Recording by Ramakrishnabua Vaze
Recording by Asad Ali Khan
Recording by Bhimsen Joshi & Rashid Khan
Parrikar on Todi 

Performance by Ram Deshpande

Composition: bada khayal

सब निस बरजोरी करत रहत
नित बोली ढोली
प्यारे अापने गाये

मेरे तो जिया मैं सियावत सोही करे हो
अदारंग तब ही हमारो नाये

The composition is attributed to Adarang, and depicts a lover complaining about the aggressive behaviour of her beloved.

Tal: Jhumra (slow tempo)

4-12: Performance opens with a phrase in which lower Dha is sustained. Note an ornamented phrase (murki) in the beginning including lower Dha, Ni, Sa and the middle Re
13-19: Lower Dha is emphasised with a movement from lower Ma
26-28: A typical movement to approach to Sa from the lower Dha. This can be seen throughout the performance
46-55: Lower Dha is in focus again, followed by Pa which is sustained
57-62: Dha is approached again, this time from the lower Ga
86-96: Middle Re is sustained. Note a clear touch of Sa in between and the phrase returning to lower Dha
113-121: Middle Ga is included in the movement. Note the phrase again returning to lower Dha
129-132: A typical concluding phrase – r g r S
143-145: S r g M\ r, another typical glide. Note the phrase ending on Re. This trend continues with the next two phrases as well (up to 161), followed by a variation of r g r S (162-166)
188-196: Middle Pa sustained. Note the approach from Ga
203-206: A typical descending phrase – d M \R
209-211: Variation of the above
236: Composition begins. Note the accentuated beat (sam) of the 14 beat rhythmic cycle coinciding with SNd – in which lower Dha is emphasised
305: The first section (sthayi) is repeated
388: Second part of the composition (antara)
427-508: Improvisations using words of the composition (bol alap). Note a beautiful glide from lower to middle Dha, sustaining the middle Dha and returning to middle Re – d /d Mgr (483-487)

Performance by Ulhas Kashalkar

Composition: chhota khayal

गरवा मैं सन लागी
लागी मित पियरवा
अगम भय़ीलवा मोरे मंदरवा

सब निस मैं का जागत बितत
भोर भयी बर पायीला
फूलवन सेज बिछावूँ अंगना
ये सरस गर लावो सरमा

The composition depicts a lady who, after waiting in the night for her beloved, has finally found him at the dawn. She now rejoices with him in her decorated abode.

Tal: Tintal (medium tempo)

4-9: Performance opens with a phrase in which lower Dha is sustained
11-19: In the next phrase lower Pa is included and the movement returns to lower Dha
24-25: A typical glide to approach Sa – d /S
36-43: Middle Re is approached and sustained
44-56: A movement characteristic for Todi – r g r- g r S. Note the phrase ending on lower Dha
65: Composition begins. Note the refrain including a typical phrase – N S r g r S
84: First line is repeated with variation
107-133: Second line
138-215: Elaborations using words of the composition (bol alap)
226-269: Elaborations continue with middle Dha in focus
279-300: Again some phrases where Dha is emphasised
328: High Sa is sustained, followed by movements including notes beyond
363-397: Second part of the composition (antara)
398: Next line
407: Following line
415: Concluding line of the composition

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