Todi तोड़ी

Todi thaat is one of the ten parent scales (thaats) of Hindustani music, using komal (flat) Re, Ga and Dha with tivra (sharp) Ma, and Ni shuddha: S r g M# P d N. Raag Todi, the raga of the same name, has its own page, and the raga uses these notes with Pa held back: Raag Todi. In the system set out by Vishnu Narayan Bhatkhande, the nearest thaat is Purvi thaat, which keeps Ga shuddha; Bhairavi thaat shares the three komal notes but has shuddha Ma and komal Ni.

The ragas grouped here include Multani and Gujari Todi, which Bhatkhande names beside Todi itself as the best known of the thaat. Joep Bor adds that today's Multani has little in common with the Todi ragas, and that Bilaskhani Todi, a Todi raga by its phrases, sits in Bhairavi thaat on its notes. Bor further notes that the Todi scale of Tansen's time was today's Bhairavi, and that the modern Todi with tivra Ma and shuddha Ni may date only from the 19th century. The same seven notes form Shubhapantuvarali, melakarta 45 of Carnatic music, which P. Sambamoorthy names as the counterpart of the Hindustani Todi. No Western church mode shares these notes.

The scale itself is not tied to an hour: Bhatkhande gives Raag Todi the second watch of the day, and Bor calls Multani an afternoon raga. Learn the ragas of this thaat in courses each built by its instructor with KalaSudha, and hear them at our concerts: see our courses.