Tōḍī
Melakarta 8
Heavy, gamaka-rich
Venkatamakhin ṛāgaṅga· Dikshitar kriti tradition
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Ārōhaṇa (ascending)
- S
- R₁
- G₂
- M₁
- P
- D₁
- N₂
Avarōhaṇa (descending)
- N₂
- D₁
- P
- M₁
- G₂
- R₁
- S
Signature phrase
S R₁ G₂ M₁ P D₁ N₂ Ṡ
The pakad (catch-phrase) is the 4-8 svara motif that defines this raga's identity. Internalise this phrase first — it's what your ear reaches for when the raga returns to its home base.
Rāga grammar
- Vādi (king svara)
- D₁
- Samvādi (queen svara)
- R₁
- Jīva (life-giving)
- G₂ D₁ N₂
- Nyāsa (resting)
- S G₂ P D₁
- Graha (phrase-starting)
- S G₂
When to play
Slow to medium-paced compositions where the bhāva can unfold. Tōḍi shows its full splendor in alapana and is Tyāgarāja's favorite mood-painting medium — he has nearly 30 kṛtis in Tōḍi alone.
Gamaka signature
The G₂ oscillation against R₁ and the D₁ oscillation against M₁. The un-oscillated M₁ acts as the balancing link between pūrvāṅgam and uttaraṅgam. The phrase d r .s D is iconic.
Historical context
Named for the rāgaṅga tradition (janatōḍi / dhanāśrī tōḍi). Tyāgarāja's kṛtis in Tōḍi include 'Ēri Sāmā', 'Kaddanuvariki', and 'Grahēbhadēva'. The very name evokes a profound, meditative gravity.
Key compositions to hear first
- Grahēbhadēva — Tyāgarāja
- Dēvī Śrī Pārvati Patē — Muttuswāmi Dīkṣitar
- Tōḍi Varnam — Paccimiriyam Ādiyappayya
Listen to Tōḍī
Arōhaṇa-avarōhaṇa exposition with tampura drone.
Kṛtis in this rāga· 8 entries across 5 composers
TyāgarājaCarnatic Trinity (Tri-mūrti) — the foundational period · 2 kṛtis
- Kaddanu Variki · Ādi Tāla · 74 BPM
- Dāśarathī Nī Ŗnamu · Khaṇḍa Chāpu · 90 BPM
Muttuswāmi DīkṣitarSSPCarnatic Trinity (Tri-mūrti) — the foundational period · 2 kṛtis
- Kamalāmbike Avāva · Rūpaka Tāla · 50 BPM
- Kamalamba Samrakṣatu — Ṣaṣṭhāṃśa · Rūpaka Tāla · 64 BPM
Śyāmā ŚāstriCarnatic Trinity (Tri-mūrti) — the foundational period · 2 kṛtis
- Rāvē Himagiri Kumārī (Svarajati) · Ādi Tāla · 56 BPM
- Nannu Brōva · Miśra Chāpu · 54 BPM
TānsenPre-Trinity — Dhrupad master, Akbar's court · 1 kṛti
- Miyān kī Toḍī · Ādi Tāla · 90 BPM
Paṭṭnam Subramaṇiya IyerPost-Trinity — The Tiger of Music · 1 kṛti
- Raghuvara Nannu · Ādi Tāla · 100 BPM
Tip: open the raga × composer cross-search on /composers to explore any other raga.
Sangeet Parijat — Ahobala's notes
- Graha (opening)
- Sa
- Aṁśa (king svara)
- Dha
- Nyāsa (rest svara)
- Sa
- Time
- After 1st prahara
- Gīti
- Bhinnā
- Gamaka
- andolan
Ahobala places Toḍī later than morning. Andolan on komal Dha is the heart of the raga.
Similar ragas
Top 5 by mūrchhanā + aṁśa + nyāsa + graha + gītī overlap. Match score shown.
- bhairavG SaA DhaN SaBhinnā100%
- HāṭakāmbarīG SaA DhaN SaGauḍī95%
- GavāmbhōdiG SaA GaN SaBhinnā80%
- HindōḷamG SaA GaN SaBhinnā80%
- ĀnandabhairavīG SaA GaN SaGauḍī75%