Todi (popularly known as ‘Miyan ki Todi’ or ‘Shuddh Todi’) — says musicologist Rajan Parrikar in his essay, The Empire of Todi -- is the convergence of a thaat, raga or raganga. He says: “This raganga is so fundamental that it would not be absurd to speak of a ‘Todi gene’ in the musico-cultural biology of India.” Parrikar’s observation indicates not only the expanse of the raga, but also of its manifestations in innumerable shades and avatars. Miyan ki Todi has a lot of similarities with Gujari Todi in terms of its melodic movement, it also comes close to Multani, though the emphasis and presentation of Multani is distinctly different from Miyan Ki Todi. Despite their differences and similarities, technically they are said to evoke the same shade of emotions. Though I would think the ‘sthayi bhava’ of Todi is melancholy, it produces a range of emotions -- from contemplation to sadness to joy, and this is entirely the talent and capability of the musician. In whatever shade it is deployed, Todi’s intensity lies in its very bones. To simply elicit its notes is to lay bare the deep feelings it produces.
Coimbatore 03/10/2013. Pandit Pravin Godkhindi (Bansuri) performs in the ' The Hindu- Peace' , a charity fusion music concert, in Coimbatore, Tamil Nadu, on Wednesday. Photo:K.Ananthan
Hindi film music and non-film music composers have used this raga for several of their compositions, each to different effect. The song on the top of my mind is by Hridayanath Mangeshkar from his collection of Meera Bhajans. “Nanda Nandan” rendered exquisitely by Lata Mangeshkar. Composed in the higher octaves, the song begins with extolling ‘Giridhar’ and it moves towards surrender. The soulful background score, Lata Mangeshkar’s unmatched singing, presents one compelling picture of Todi. There is an equally beautiful deployment of Todi in a non-filmy number, from the album, Dil Padosi Hai sung by Asha Bhosle. Written by Gulzar and composed by RD Burman, “Bheeni Bheeni Bhor Aayi” captures you from the word go. It is prayerful and reflective. Composed like a classical bandish, Asha Bhosle packs in tans and swaras that represents the raga, not to forget the luxuriant flourishes on sitar and bansuri. It is a haunting song, and as you listen to it, you can’t help remembering shades of Todi in the most moving, “Raina Beeti Jaaye” from Amar Prem, also by RD Burman.
Meet: Naushad Ali, Music Director. PHOTO: T A HAFEEZ
Parrikar draws attention to Adi Shankara’s stotras sung by MS Subbulakshmi in Todi, again, invoking a totally different mood. To the constant refrain of a short phrase (sa, ni, da, sa) in the lower octave, Pt Ravi Shankar stitches together a lovely composition in an operatic form, “Teri Meri Prem Diwani”, for the film, Meera. The song with its multiple registers, is sung immaculately by Vani Jayaram. It uses many musical techniques thereby creating a rich collage of form and content. Another unforgettable song is “Insan Bano” from the film, Baiju Bawra composed by Naushad. The song is a plea, and Naushad, through the inimitable Mohammed Rafi, exploits the beauty of Todi. The song has lush sitar and violin passages: it is impossible to capture the splendour of this composition (and of Todi) through words, it is best experienced. Naushad creates a rich landscape of Todi, both with the main melody as well as the orchestration.
CHENNAI, 01/03/2008: Pandit Ravi Shankar at The Banyan's Fundraiser event Basant Utsav in Chennai on Saturday. Photo:R_Ragu
Listen to Anup Jalota’s “Jag Mein Sundar Hai Do Naam”, a huge hit of a bhajan in the 90s. Evocative and forceful, Anup Jalota’s bhajan is a soft Todi, but what he plays on the harmonium is a full blown, passionate Todi. There’s celebration in this song and it is indeed contagious – even if you try, you cannot help being mesmerized by this song. My other favourite in Todi is a vachana, rendered by the legendary Pt. Basavaraj Rajguru (Samyukta Vachanagalu album). It is a short rendition, but Pt. Rajguru, with his brilliance, turns it into a memorable piece. Short improvisations, lush taans, it is one more unforgettable Todi composition.
Even as I invoke memories of Todi in all its richness in different songs and genres, what I really would like to speak of is a fairly recent composition by flautist Pravin Godkhindi and Venkatesh Godkhindi for a Kannada television serial, Garva. Drawing from the rich tradition of Todi and its innumerable compositions in various genres of music, these composers take Todi to a new height. Set to a Purandara Dasa composition “Yaaru Hitavaru Ninage” (also sung by P. Kalinga Rao in a different tune), this song explores Todi with a vision that is so amazing. It exploits the possibilities of Todi in its fullest form, and opens up a whole new world for the listener. The song opens to the drone of the tanpura, alternates between taans and alap phrases, before it reveals its grand opening phrase. With this musical pattern, it seems to capture the meaning of the entire song right at the beginning. Purandara Dasa does a philosophical reading of worldly life, discussing its futility. He finally says there is poise and peace only in the feet of the divine. The composers take you through the various moods of the lyrics by changing pace, rhythm textures, and finally reach a musical crescendo. This crescendo produces a stillness, and silence, hinting that fulfillment is a thing of the inner self. In what can be called one of the finest compositions and renditions, Praveen Godkhindi and M.D. Pallavi, not only expose to you the richness of Todi, but the magic of creative process where the vision of the composer gains coherence in the singer. The tonal quality, the orchestration, the harmonies, and the overall mood that it creates – Yaaru Hitavaru Ninage is a masterpiece according to me.
Though these songs present to us the universe of Todi, it is not all. They reveal to the listener an infinite world of intellectual and emotional possibilities. Mallikarjun Mansur, Gangubai Hangal, Kishori Amonkar…. All these timeless renditions of Todi pass through the mind. The musical space is one of endless possibilities: I believe that Todi (or any raga) happens in the mind and not just in its notes. The song gains splendour as the listener moves to newer realms.
Inner Voice is a fortnightly column on film music
