SGMPNS
SNDPMGRS
vadi Pa samvadi Sa
Todi thaat · komal Re Ga Dha, tivra Ma
Ragas of Todi तोड़ी
· 4 ragas
Four ragas of Todi thaat, with komal Re, Ga and Dha and tivra Ma, from Madhuvanti to Miyan ki Todi, written out to play.
Todi thaat, in the Hindustani system, lowers Re, Ga and Dha and raises Ma. This page holds four of its ragas, Madhuvanti, Gujari Todi, Multani and Miyan ki Todi, each written as its aroha and avaroha, the ascent and descent, with a button that plays it. Miyan ki Todi uses all seven notes and is the steepest. Madhuvanti, the gentlest, takes shuddha Re and Dha from outside the thaat's scale and leaves both out going up, so their forms are easy to get wrong by the time the descent arrives. Begin with its return to hear them.
TodiSRGMPDN
MadhuvantiSsamvadiRGMPvadiDN
The twelve notes of an octave, drawn with Sa on a white key. a note from outside the raga's thaat
Multani also climbs without Re and Dha, from the lower Ni rather than Sa, and brings them back komal. Like Madhuvanti it rests on Pa and Sa. Practise the two returns on separate attempts, with “komal” written beside Multani's descending Re and Dha until the voice stops borrowing Madhuvanti's forms.
Multani and Miyan ki Todi have exactly the same notes and the same printed descent. Miyan ki Todi climbs on all seven from Sa and rests on komal Dha and komal Ga; Multani starts lower, leaves out Re and Dha, and rests on Pa and Sa. Sing the full ascent slowly enough to place its lowered notes, then read Multani's before leaving them out again.
Multani vadi Pa samvadi Sa
Miyan ki Todi vadi komal Dha samvadi komal Ga
Leave Miyan ki Todi, named in year seven, for later, whatever its straight lines suggest. Gujari Todi has the thaat's lowered Re, Ga and Dha with tivra Ma, and no Pa in either direction; listen for a stray Pa rather than filling the gap. For a first week, stay with Madhuvanti and check its descent without the keyboard sounding under every note.
Start with Madhuvanti, Gujari Todi and Multani.
The ragas of this shelf, the gentlest first4
SGMPNS
SNDPMGRS
vadi Pa samvadi Sa
The Todi heading won't help if it makes you lower Re and Dha. Madhuvanti omits both ascending and uses their shuddha forms descending, beside komal Ga and tivra Ma. Multani starts on the lower Ni and uses komal Re and komal Dha on the return; both name Pa as vadi and Sa as samvadi. Record Madhuvanti's descent, stopping at its last Re to check that key, then play it back to check the earlier Dha.
SRGMDNS
SNDMGRS
vadi komal Dha samvadi komal Re
Midway down, your hand may land on Pa while your eyes are still reading the gap. Gujari Todi omits Pa both ways, unlike Miyan ki Todi, and pairs its komal Dha vadi with komal Re, not komal Ga. Hold the descending komal Dha until you hear tivra Ma below it. Sing across with the keys silent, sounding tivra Ma only after landing. Check that no Pa crept in and the gap did not hurry the next komal Ga.
NSGMPNS
SNDPMGRS
vadi Pa samvadi Sa
Take a new breath before descending; two notes are coming that the climb never touched. Multani rises from the lower Ni without Re or Dha, then restores their komal forms in the full descent it shares with Miyan ki Todi. Its vadi and samvadi are Pa and Sa, not komal Dha and komal Ga. Look ahead to komal Dha before leaving upper Sa. Sing down to Pa, check that Dha, then add the lower part and its returning komal Re.
Open in the harmonium First taught in year 4 of a graded syllabus.
SRGMPDNS
SNDPMGRS
vadi komal Dha samvadi komal Ga
Give komal Dha room to be heard before Ni takes over. It is Miyan ki Todi's vadi, paired with komal Ga, in full, straight lines. Multani shares the descent but omits Re and Dha ascending and starts on the lower Ni; this ascent has both komal notes. For one pass, keep the harmonium mostly silent and use it only to check komal Dha and komal Ga after singing each, the voice steady through the check.
Open in the harmonium First taught in year 7 of a graded syllabus.