BhanudhanyasiSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
Carnatic raga
Hindusthani Todi
A janya (derived) raga of melakarta 45 Subhapantuvarali. It takes its notes from that parent scale, using the ascent and descent shown here.
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- Melakarta
- 45 Subhapantuvarali (janya)
- Jati
- Shadava–Sampurna
- Notes
- 7 of 12
- Movement
- Krama (straight)
- Time
- Any time
- Rasa
- Varied
Your guide to Hindusthani Todi
New to classical music — moods, stories, film songs and simple listening.
Start listening
Press play to hear the notes of Hindusthani Todi, rising then falling.
Its mood
Varied. Traditionally heard at any time.
Film songs you may know ↓New to classical music?
Hindusthani Todi, explained simply
Think of a raga as more than a scale: a set of rules and a personality. Hindusthani Todi has its own notes, its own favourite phrases, its own time of day and its own mood, the way a person has a recognisable voice and way of talking.
How it feels
Hindusthani Todi sounds dark, deep and inward, full of the lowered (komal) notes that make music sound serious or sad. Its emotional colour is a character all its own. Traditionally it can be performed at any hour, because Indian musicians believe each raga matches the feeling of a certain hour or season.
How to recognise it
- It uses tivra (sharp) Ma, a note a little higher than you'd expect. It gives the music a lifting, yearning quality, as if it's leaning upward.
- It uses komal (flat) Re, the note just above the home note. Sliding off Sa onto this very close note creates tension right at the start of phrases.
- The melody goes up with 6 notes but comes down with 7, so the climb and the descent sound noticeably different.
Its beauty
A janya (derived) raga of melakarta 45 Subhapantuvarali. It takes its notes from that parent scale, using the ascent and descent shown here. The beauty of Hindusthani Todi comes from patience: a good performer doesn't rush through the scale but lingers, bending into notes and letting each phrase breathe, so the mood builds slowly until it fills the room.
What makes it different
- Shubhapantuvarali, Janavali, Shivapanthuvarali use the very same notes. Ragas aren't just scales: the difference lies in which notes are stressed, which phrases are used and how the melody moves. That's why two ragas built from the same notes can feel completely different.
- Across the North–South divide, Todi (Hindustani) and Komal Rishabh Todi (Hindustani) uses the same notes. Listening to both side by side shows how the two traditions shape the same material differently.
- In Carnatic music, notes are rarely held still. They wobble, slide and bend (called gamakas), and those shakes are as much a part of the raga's identity as the notes themselves.
Listening exercise: Try this: press "Full scale" above, then open one of the recordings below. In the first few minutes, see if you can hear the melody circling back to Sa. Once you catch it, you've started to recognise Hindusthani Todi.
History & evolution
Hindusthani Todi is a janya (derived) raga, drawing its notes from its parent melakarta. Janya ragas often existed long before the melakarta system and were later fitted into it.
The Carnatic Trinity of the 18th–19th centuries (Tyagaraja, Muthuswami Dikshitar and Syama Sastri) gave lasting shape to most popular ragas through their compositions. Their kritis remain the standard reference for how each raga should move.
Looking for more history…
Scale
Arohana (ascent) · 6 notes
N3 R1 G2 M2 D1 N3 S'
- Devanagari
- नि₃ रि₁ ग₂ म₂ ध₁ नि₃ स•
- Tamil
- நி₃ ரி₁ க₂ ம₂ த₁ நி₃ ஸ•
- Telugu
- ని₃ రి₁ గ₂ మ₂ ద₁ ని₃ స•
- Kannada
- ನಿ₃ ರಿ₁ ಗ₂ ಮ₂ ದ₁ ನಿ₃ ಸ•
Avarohana (descent) · 7 notes
S' N3 D1 P M2 G2 R1 S
- Devanagari
- स• नि₃ ध₁ प म₂ ग₂ रि₁ स
- Tamil
- ஸ• நி₃ த₁ ப ம₂ க₂ ரி₁ ஸ
- Telugu
- స• ని₃ ద₁ ప మ₂ గ₂ రి₁ స
- Kannada
- ಸ• ನಿ₃ ದ₁ ಪ ಮ₂ ಗ₂ ರಿ₁ ಸ
Synthesised with Sa = A3. A real performance uses gamakas, meends and phrasing that a bare scale can't capture.
Notes on the octave
S
C
r
C#
R
D
g
D#
G
E
M
F
M#
F#
P
G
d
G#
D
A
n
A#
N
B
| Swara | Interval from Sa | Western (Sa = C) |
|---|---|---|
| Shadjam | Unison | C |
| Shuddha Rishabham (R1) | Minor 2nd | C# |
| Shatshruti Rishabham (R3) / Sadharana Gandharam (G2) | Minor 3rd | D# |
| Prati Madhyamam (M2) | Augmented 4th | F# |
| Panchamam | Perfect 5th | G |
| Shuddha Dhaivatam (D1) | Minor 6th | G# |
| Kakali Nishadam (N3) | Major 7th | B |
Character
Jati (Shadava–Sampurna). The ascent uses 6 distinct notes and the descent 7. Audava = 5, Shadava = 6, Sampurna = 7.
Krama (straight) movement. Notes are taken in order going up and coming down.
Parent scale. Melakarta 45 sits in chakra 8 of 12 and uses prati madhyamam (M2). Hindusthani Todi is a janya (derived) raga, drawing its notes from this parent.
Time (Any time). Not tied to a particular time; often placed by convention at a set point in a concert.
Listen
Each link opens a YouTube or Spotify search for this raga by the instrument or artist.
Vocal
Flute (Venu)
Veena
Violin
Nadaswaram
Same notes in Hindustani music
These ragas use exactly the same notes, though their phrasing and ornaments differ.
Ragas with the same notes
Same notes, but a different character because of emphasis, movement and phrasing.
Why this time of day?
Hindusthani Todi is associated with: Any time.
- In Carnatic music, the time of day is a gentle custom rather than a strict rule. Most ragas can be sung at any concert, and the time linked to a raga usually comes from temple rituals and old practice.
- Hindusthani Todi has no fixed time and is sung freely in concerts.
Close ragas & how they differ
Ragas that sound most like Hindusthani Todi, and how to tell them apart.
ShivapanthuvaraliSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Going up: Hindusthani Todi climbs N3 R1 G2 M2 D1 N3 S', while Shivapanthuvarali climbs S R1 G2 M2 P D1 N3 S'.
- Hindusthani Todi uses a different number of notes going up than coming down; the other is more symmetrical.
DhowreyaniSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Going up: Hindusthani Todi climbs N3 R1 G2 M2 D1 N3 S', while Dhowreyani climbs S R1 G2 M2 N3 S'.
ShubhapantuvaraliSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Going up: Hindusthani Todi climbs N3 R1 G2 M2 D1 N3 S', while Shubhapantuvarali climbs S R1 G2 M2 P D1 N3 S'.
- Hindusthani Todi uses a different number of notes going up than coming down; the other is more symmetrical.
- Mood: Hindusthani Todi leans varied, Shubhapantuvarali leans varies.
JanavaliSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Going up: Hindusthani Todi climbs N3 R1 G2 M2 D1 N3 S', while Janavali climbs S G2 R1 G2 M2 P D1 N3 D1 S'.
- Hindusthani Todi uses a different number of notes going up than coming down; the other is more symmetrical.
BhanukeeravaniSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Going up: Hindusthani Todi climbs N3 R1 G2 M2 D1 N3 S', while Bhanukeeravani climbs S R1 G2 M2 P D1 N3 S'.
- Coming down: Hindusthani Todi descends S' N3 D1 P M2 G2 R1 S, while Bhanukeeravani descends S' N3 D1 M2 G2 R1 S.
Linked ragas & variants
Ragas from the same family or named after Hindusthani Todi, such as Yaman and Yaman Kalyan. They are related but each has its own rules.
Other ragas from 45 Subhapantuvarali
Film songs in this raga
Bollywood (Hindi)
No well-known Hindi film song is confidently attributed to this raga yet.
Other Indian films (Tamil, Telugu, Malayalam, Kannada, Bengali, Marathi)
No regional film song is confidently attributed to this raga yet.
Top Bollywood songTop Tamil songTop Telugu songTop Malayalam songTop Kannada songTop Bengali songTop Marathi song
Film songs often take liberties with a raga, so treat these as "based on" rather than strict renditions.
Discussion
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Notation: Hindustani komal notes are lowercase (r g d n), M# = tivra Ma, ' = upper octave. Carnatic numbers mark swara variants (R1, G3, …).