Rag Miya Ki Todi

Rag Miya Ki Todi is a recording of a Hindustani classical sitar performance by Budhaditya Mukherjee. The work features an elaboration of Rag Miya Ki Todi, a morning raga associated with the Todi thaat and characterized by its use of komal re and komal dha with intricate melodic phrasing. Mukherjee performs the raga in the vilambit and drut sections, accompanied by tanpura drone and tabla percussion.

The recording spans a duration of 30 minutes and 6 seconds. The performance follows the traditional khayal-inspired instrumental structure, beginning with an alaap that explores the raga’s contours, followed by a jor and jhala before transitioning into composed and improvised gat sections. The compositional framework adheres to the Etawah gharana style, which Mukherjee represents as a disciple of Mushtaq Ali Khan and Ali Akbar Khan.

The release format and label remain undocumented in available sources. The recording date and production context are also not specified. Notable aspects of the performance include Mukherjee’s use of meend (glissando) and gamak (ornamentation) to emphasize the raga’s emotional depth, as well as rhythmic interplay with the accompanying tabla player, whose identity is not recorded.

Mukherjee’s interpretation of Miya Ki Todi aligns with the raga’s historical association with Miyan Tansen, the 16th-century court musician of Emperor Akbar. The recording serves as an example of the dhrupad-ang and khayal-ang fusion typical of instrumental Hindustani classical music, with Mukherjee’s sitar technique reflecting the gayaki ang (vocal-style) approach.