Todi (Hindi: तोडी) is a Gurmat classical raga which gave its name to the Todi thaat, one of the ten modes of Sikh classical music. Ragas from the Todi raganga include Todi (a.k.a. Miya ki Todi) itself, Bilaskhani Todi, Bahaduri Todi, and Gujari Todi.
Aroha & Avaroha
S r g M+ d N S' or
'd 'N S r g M+ d N S' or
S r g M+ d P, M+ d N S' or
S r g M+ P, M+ d N S'
S' N d P M+ g r s or
S N d P M+ d M+ g r g r S
Vadi and Samavadi
Komal Dha and Komal Ga
In ascent, re, ga and dha are intoned slightly low, and tivra ma is very sharp. In descent the intonation of all these notes is normal 
Pakad or Chalan
The 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 relationships
Miyan 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.
Todi should be performed in the late morning
Todi is nearly always shown as a gentle, beautiful woman, holding a veena and standing in a lovely green forest, surrounded by deer. 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"
Rasa in Indian classical music is understood as mood of the raga. Miyanki todi predominantly is mostly pervaded by a pensive, mournful mood which is then relieved in the drut (faster tempo) part, by a festive piece, possibly to allieviate the heavy pathos in the earlier stages of rendering, though not always. the composition is such as to afford an artist of high calibre to mould it in either the inherent pensive mood or to entirely present a festive mood.
- Benward and Saker (2003). Music: In Theory and Practice, Vol. I, p.39. Boston: McGraw-Hill. ISBN 978-0-07-294262-0.
- Kaufmann 1968
- Bor 1997
- Bor 1997
- Bor 1997
- Kaufman 1968, pg. 551
- SRA on Samay and Ragas
- SRA on Ragas and Thaats
- Rajan Parrikar on Ragas
- More details about raga Miyaki Todi
Bor, Joep (1997), The Raga Guide, Charlottesville,Virginia: Nimbus Records
Kaufmann, Walter (1968), The Ragas of North India, Calcutta: Oxford and IBH Publishing Company.