S r g m+ d n S'
d n S r g m+ d N S'
S' N D P M+ g r S
S n d p m+ d m+ g r g r S
Vadi and Samavadikomal Dha and komal Gha
in ascent re, gha and dha are intoned slightly low, and tivra ma is very sharp. In descent the intonaltion of all these notes is normal
Pakad or ChalanThe distinctive phrase is r/g-\r\S, where r may be subtly oscillated.
Pa is omitted in ascent, but present and often sustained. 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 relationshipsMiyan 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 and the name Miyan Ki Todi appears first in the 19th century literature.
Samay (Time)Todi should be performed in the late morning
RasaTodi is nearly always shown as a gentle, beautiful woman, holding a veena and standing in a lovely green forest, surrounded by deers. 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"
raag-miya ki todi by pt. jasrajji......