The cover picture that I have put up is that of Hema Malini in the 1979 movie Meera in which she was in the title role. Song #1 Ae ri main to prem diwani mera dard na jaane koye…. 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. Miyan ki 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 alleviate the heavy pathos in the earlier stages of rendering, though not always. Rasa in Indian classical music is understood as mood of the raga. Her body is anointed with saffron and camphor.” 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.
The Carnatic raga Todi is the equivalent of Bhairavi and does not have any similarity to the Hindustani Todi.Īs can be seen in the profile picture of the Raag, Todi is nearly always shown as a gentle, beautiful woman, holding a veena and standing in a lovely green forest, surrounded by deer. The equivalent raga in Carnatic music is Shubhapantuvarali. Miya ki Todi) itself, Bilaskhani Todi, Bahaduri Todi, and Gujari Todi. Ragas from the Todi raganga include Todi (a.k.a. Todi (Hindi: तोडी) is a Hindustani classical raga which gave its name to the Todi thaat, one of the ten modes of Hindustani classical music.