SearchGurbani.com

Gurbani Raag Todi


A ragini .of Dipak in the Ragmala, Todi is today the head of a thata. It is considered one of the most important of the north Indian ragas. Todi was used by the Gurus for 32 hymns. This is a raga for the late morning hours and the mood is gentle, with an aura of adoration. The texts composed to this raga emphasize that no matter what problems man meets or what worldly affairs distract the mind, devotion to the Lord brings one back to the path of release from worldliness. Generally used for singing praises of noble men and kings, this raga was quite popular at Akbar’s Court. Tansen sang Mian-ki-todi praise of Emperor Akbar. The Gurus, however, used this raga to sing the praises of God. Guru Arjan sang as follows:
“I have just one God, my Lord; I know no other.
The Lord’s praise is my way of life, occupation and caste;
Hearing the
kirtan of the Lord, I feel great joy”[10].

Aroh : Sa Re _Ga M'a Pa _Dha Ni Sa

Avroh : Sa Ni Dha Pa NI'a Ga _Re Sa

Pakar : _Dha Ni Sa, Re Ga, Re Sa, M'a _Ga Pa M'a Ga, _Re _Ga _Re _Sa

Vadi : Dha

Samvadi : Re

Introduction

Raga Todi, which comes under Todi that, is one of the most exalted ragas of Northern India. It is classified as a ragini of a combination of raga Dhanasri, Asawari and Khat. It is mentioned as a consort of Raga Bhairo in Nad-Binod, consort of Malkaus in Sur-Tal group, consort of raga Deepak in Budh Prakash-Darpan and consort of raga Basant in Shivmat The mood of this raga is very tender and compassionate.

In the Ragamala listed at the end of Guru Granth Sahib it is mentioned as a consort of raga Deepak.

The scale and notes of the raga are as follows:

Arohi (ascending scale) - ni re ga ma dha ni sa

Avrohi (descending scale) - ni dha pa ma dha ma ga ma ga re sa

The vadi (most popular) note is 'dha' and samvadi (second most popular) note is 'ga'

This raga is sung at the first part of the day i.e., from 6 a.m. to 9 a.m. The season of its recitation is winter (shisher) i.e., during December and January. In Guru Granth Sahib it has hymns from pages 711- 718 (8 pages).

The Composers:

The composers of bani (hymns) in this raga are:

Gurus

  • Guru Ramdas
  • Guru Arjan Dev
  • Guru Tegh Bahadur

Bhagats:

  • Namdev

The Structure:

The sequence of the structure of compositions in this raga are:

Gurubani:

  • Shabads (2, 5 ,4 padas)
  • Shabads - Chhants

Bhagatbani:

  • Shabads ( 2, 4 padas)

Matrix

VISUAL ANALYSIS

Count of the use of Managals:

Complete Moot Mantar = 1
Ik-ongkar Satgur Prasadh = 8

Placement and count of rahau verses:

All shabads of the Gurus have a rahau verse in them, some numbered some not numbered, and all rahaus have been in the beginning of the shabads.

In Bhagat Bard the rahau verses have numerals and are placed as: first shabad at the end of the first pada, and second and third shabads in the beginning of the shabads

Diversification of headings and subheadings in the raga:

Page number

Heading/Subheading

711

Raga Todi Mehla 4 Ghar 1

711

Todi Mehla 5 Ghar 1 dopadas

718

Todi Mehla 9

718

Todi Bani Bhagta ki

 

No name of a Bhagat in the title; the name of Namdev

appears in the last tuk of all the shabads.

Though the title refers to 'plural' number of bhagats but

the raga has bani of only one Bhagat.

Composers Structure of Bani

 

Padas

 

 

 

 

Ashtpadis

Specialist

 

Chts

Specialist

Var

Sloaks*

Gurus

2

3

4

5

6

8 (padas)

untiled

Titled

 

 

 

 

Ramdas

 

 

1

 

 

 

 

 

 

 

 

 

Arjan Dev

25

 

40

1

 

 

 

 

 

 

 

 

Tegh

Bahadur

1

 

 

 

 

 

 

 

 

 

 

 

Bhagats

 

 

 

 

 

 

 

 

 

 

 

 

Namdev

2

 

1

 

 

 

 

 

 

 

 

 

 

Excerpts taken from:
Guru Granth Sahib: An Advance Study
Dr Sukhbir Singh Kapoor
Vice Chancellor World Sikh University, London

 



Printed from http://searchgurbani.com/raags/raag_todi
© 2004 - 2017. Gateway to Sikhism All rights reserved.