Multani, Todi: A Comparative Study
Raag Miya ki Todi (aka Todi) and Raag Multani are two similar raags from the Todi family. Both raags use the same set of notes, yet they create very different musical personalities. The distinction between the two lies not in the swars themselves, but in the way the swars are used, emphasized, and approached.
This comparative study explores the similarities and differences between Todi and Multani through their melodic movement, treatment of swars, vadi–samvadi, emotional expression, and time of performance.
Multani, Miya Ki Todi: A Comparative Study
Differences in Swar Usage and Movement
One of the main differences between Miya ki Todi and Multani lies in the treatment and movement of specific swars. In Miya ki Todi, Pa is omitted in the ascent, while in the descent, it appears in a vakra way, such as
D p M D M R G R s
In Multani, however, R and D are omitted in the ascent, and even during descent, exhibit alpatva and are given minimal emphasis.
A characteristic descending movement in Multani isM G s Rnl s G R s,
where Re is touched only briefly. Similarly, in the phraseG M p n su D p,
the Dha appears only fleetingly. Unlike Todi, Pa plays a much more prominent role in establishing the identity of Multani. The vadi and samvadi of Multani are Pa and Sa.Multani also differs in the intonation of komal Re and komal Dha. These are rendered ati-komal, meaning slightly lower than the usual place.
Time of performance
Todi is traditionally performed during the late morning, while Multani is performed in the afternoon. These two raags also illustrate an important theory in Hindustani music regarding the relationship between the vadi swar and the time of performance. Raags with an uttaraang vadi are generally associated with the time period between midnight and noon, while raags with a poorvaang vadi, are generally associated with the period between noon and midnight. Since the vadi of Todi is Dha, an uttaraang swar, it is sung in the late morning. In contrast, Multani has Pa as its vadi, a poorvang swar, and is therefore associated with the afternoon.
Mood and Emotional Expression
Despite sharing the same notes, Todi and Multani evoke very different emotional atmospheres. Todi is associated with feelings of devotion, peace, and renunciation, while Multani expresses longing and sadness. The difference in treatment and movement of the swars gives each raag its own distinct emotional identity.
Conclusion
Todi and Multani demonstrate how two raags can use the same set of notes yet create completely different musical identities. The distinction between the two lies in the characteristic melodic movements and the prominence or omission of certain notes. These differences also influence their emotional expression and the time of performance. A deeper understanding of these subtleties helps listeners and students appreciate the richness and nuance of the Todi family of raags.