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Todi Raga [Part 2 Todi Raga [Part 2 here are in all about 15 or 16 tristayi raga-s. that is, raga-s Todi is known in Venkatamakhi's melakarta Twhich allow full scope for development in all the three scheme as Hanumatodi- octaves I lower, middle and upper). Todi is one of them. Therefore it offers to vocalists a medium to show off their voice capabilities provided they have the needed range. It also allows tremendous scope for alapana in a variety of colours. Kharaharapriya, Natabhairavi and Ideally the alapana should be given the colour of the Shanmukhapriya are among the other composition that will follow. tristayi raga-8. The gandhara and the daivata are the chaya swara-s of Todi — the swara-s which denote the beginning and ending of certain characteristic phrases. These two swara-s are given karvai (elongation) as well as gamaka I oscillation), as for example in the phrase gi-ma-da Todi also offers great opportunity for swaraprastara using janta swara-s, or swara combinations using notes in pairs, such as da- da ntni sa-sa Madurai Mani Iyer used to revel in them, in singing Nimiuvina for example. Datu swara combinations — such as ni-ra-ni da-ni-da. %i-ra~ni da. ma-du-nior ni-gi-ra. ntra-ni da-ni-da. gi-ra-ni-da-ma-da-ni highlight the two varna-s in Todi which are in fashion, namely Patnam Subrahmania Iyer's Era napai m Adi and Pallavi Gopala lyers Kanakangi in Khanda Ata tala. Chittaswara: the swara-s introdu«ed by the composer himself as part of the sahitya. Kumara Ettendra's Gajavadana contains sparkling chittaswara-s Swarajati: a varnam-like composition where while Syama Sastri's Rave Himagiri Kumari is an outstanding swara-s are part of the composition and the example of a swarajati. lyrics are written to suit the swara-s. A very interesting classical composition in Todi is Muthuswami Dikshitar's Mahaganapatim vande in which the panchama occurs only in the opening but is not used afterwards. Yet it does delineate the image of the raga. I've already referred to the numerous compositions of Tyagaraja in Todi. Papanasam Sivan, who has been described as the Tamil Tyagier, has 18 songs to his credit in Todi, including Kadaikann nokki Kaliieerumo. Kartikeya. Tamadamen and Tanigai valar. Other vaggeyakaras who have composed shining pieces in Todi include: • Muthuswamy D'ikshiiar (Daks hay an i Paalaya mam. Ramachandram, Sri Krishnam bhaja nianasa and Sri B.M. Sundaram of Pondicherry says that Subrahmanyo. besides those already mentioned); there are two compositions extant in • Syama Sastri (Karunanidhi besides the swarajati Rave Panchama varja Todi or Suddha Todi: Himagiii Kumari); 'Saraguna gavumu' (varnam) and 'Ma manini' (kriti), both by M. • Subbaraya Sastri (Nannu brochutaku and SriKamalambikc Balamuralikrishna. which is sung also in Subhapantuvarali); Sundaram also asserts that 'Vedalanu • Mysore Sadasiva Rao (Tyagarajaswamy); Kolhandapani' is a composition of Harikatha exponent Tanjavur Krishna Bhagavatar, not • Pallavi Gopala Iyer (Ambanatu vinnapamu); of Tyagaraja. Rangaramanuja Iyengar, in his 'Kritimanimalai' has attributed it to • AnayyaMm^a nannubrovave); Tyagaraja and this was the basis for our • Ghanam Krishna Iyer i'Ella arumaigalum); statement, but no other readily available source-book on Tyagaraja corraborates • Ramaswamy Sivan (Ananda Natesa); Rangaramanuja Iyengar on this score. • Swati TirunaliDeva deva mam palava, Mandara ilhura, Todi Adagu Pankajakshi); Rllarvi has reported, In hit book with the • Kotceswara Iyer < Kalueerai; above title, the following incident narrated by QNB: • Chengalvaraya Sastri Mfftfal nannaduimhul; Todi Sitaramiah was one of the musiciane at • Poochi Srinivasa lyengar iSriW-nkatt^amf; the Tanjavur oourt around 1860. A ■pendthrift, he would be in need of cash • Mysore Vasudevachar/.Ydnnumj namaia, Naramemi, Pa hi frequently. So he would pledge hie mam, Paratpara), belongings to moneylenders. At one stage, he • Ponniah P\\\a'\ (Nameeda kamiia pata davaki). had no article to pledge and the moneylender suggested he pledge the Todi' raga, saying: Arivakudi gave special lustre to Swan's Kartiktya; u recording "Give me an undertaking that, till you settle of this is available. Also available is GNB's fine rendering of my loan with interest, you would not sing Tamadamen. One of DKPs favourites has been Tan iga i v alar Todi in publio or before the king." When Sitaramiah asked: "How would that satisfy by the same composer. you or assure return of the loan ?" he Chembai, in his evening years, recorded an LP which includes replied: "You would be more particular to Kaddanu variki rendered in his inimitable style. He has also left return the loan soon, because it would be affecting your singing. Also some of your behind an expert if somewhat amusing recording of Gopula raslkas might come to your aid and my Iyer s Ambanatu vinnapamu. which is a rare kriti. Musiri made money would thus be returned!" Satisfied listening to Tyagaraja's Eiuiu daginado and Amba with his explanation, the vidwan agreed and nannubrovave a memorable experience even though he used the money immediately changed hands. prayoga-s not acceptable today, while the elder Maharajapuram achieved the same effect with Tyagaraja's Kotinadulu. GNB's rendering of Ramaswamy Sivan's Ananda Natesa should also be mentioned in this context. Todi is frequently encountered in the dance theatre as well, for there are a number of compositions of different genre suitable for dancing available in this raga Syama Sastri's swarajati is often performed as the centre piece. Then there is also Dikshitar's Rupamu juchi with supplementary lyrics and swara-s by Tiger Varadachariar. Among pada varna-s, Ponniah Pillai's Danike is perhaps the most popular. There are three other compositions based on the same varnamettu. Swati Tirunal also has composed pada-varna-s. Pada-s in Todi which are interpreted on the dance stage today include: Yarpoye solluvar which is attributed, perhaps wrongly, to Ghanam Krishna Iyer; Marimutha Pillai's Enneramum: and Kshetrayya's Ninnanavale and Ennatikini In earlier times, Subbarama Iyer's Mane mayile was made famous by Balasaraswati, while another of his pada-s presented was Ennadimetta talukku kaattarae? Among javali-s performed are: Mo.sa jesene; Baliniyela Balamani and Mayaladi both by Pattabhiramayya; and Emani pogadutune by Karur Chinna Devudu and Dakshinamurthi. There exists an old recording of the last-mentioned javali by During the next month or so, Sitaramiah did Coimbatore Thayi. not sing Todi at all, notwithstanding the maharaja's oblique enquiries and requests. Poochi" Srinivasa lyengar's tillana Deem deem Uinana is also a Finally the king asked him straight why he long-tine favourite. would not sing Todi. When the vidwan related the story of his pledging the raga to There are many easy-listening songs in Todi but, unlike the moneylender, the maharaja felt Karyani and Kharaharapriya this raga has not been a frequent extremely sorry and said he could have come theme in film music. One remembers Dandapani Desikar's to him for assistance. In the event, the Vazhimaraitirukkude in 'Nandanar', an emotion-packed piece moneylender was paid back bis loan with interest and the raga Todi redeemed — much on the lines of Tyagaraja's Koluva maregada. There were a few to the joy of the vidwan and his admirers. other songs of M.K. Tyagaraja Bhagavatar and P.U. Chinnuppa which were ragamalika-s. with Todi being one of the ragu-s. MLV sang Deivame illaye much later in the film 'Ulugum Palavidam', but much more popular and enchanting was P. Susila's Unnaippolpenn a/lavo in 'Vanangamudi; this song had all the weight of Todi and there was no cincmutic'lightening'. In the last two decades. Todi has been heurd in films only us brief snatches in ragamalika songs, like Balamurali's l.sai ketka 53 ezhuntodivaruvananro in 'Tiruvilaiyadaf. The only exception of course is the film Todi Ragam' in which the protagonist played by T.N. Seshagopalan pledged his Todi under extenuating circumstances. In it Seshagopalan has sung Todiyil padugiren. besides an alapana of Todi, but the film ran so briefly that it made no impact. Film music directors have perhaps hesitated to use Todi except sparingly because of its weighty nature and the difficulty in lightening" it. But the more likely reason is that they have found a mutation of Todi much more suitable. Todi is remarkably similar to the Hindustani raga Bhairavi which in the Southern tradition is Sindhubhairavi. With flat notes (especially 'Ragapravabam' lists about 100 janya raga-s gi and da which have to be shaken in Todi) and with licence of Todi. Most of these are as yet only scales. available for using both the nishada-s and some other swara-s, About ten of these have compositions in them and they are: Ahiri, Asaveri, Sindhubhairavi has been their favourite. We have had many Bhoopalam, Dhanyasi, Desiya Todi, Ghanta, captivating songs in it. starting with MKT's Vadaname Chandra Hindolam, Punnagavarali, Revagupti and bimbamo to the latest Naanoru st'ndu. kavadichindu rendered Suddha Seemantini. In Desiya Todi, by the award-winning playback singer Chitra Naturally Tyagaraja has composed three kriti-s: Raju vedala', 'Ne pogadakunte' and 'Rookalu therefore the medium has largely kept away from Todi itself. padivelu'. In Ahiri, two compositions in vogue are: Tyagaraja's 'Adaya Sri' (which What makes Sindhubhairavi a favourite of filmwallahs makes Alathur Brothers made popular) and Todi problematic for musical novitiates. Todi's image gets Diksbitar's Navavarna piece 'Sri easily distorted when the sadharana gandhara and the daivata Kamalambike'. In Ghanta, Tyagaraja's are not shaken. Youngsters — prodigies excepted — are 'Garavimpa' and Dikshitar's 'Sri Kamalambike' can be heard now and then. therefore usually admonished by their gurus to keep away from Yehi Annapurne by Dikshitar is a popular it until they have attained musical maturity.
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