Suha Todi | SrgmPdDnS | Hindustani Raga Index

S-r-g-m-P-dD-n-S

A jod raga primarily associated with (and probably invented by) Ali Akbar Khan. As per the liner notes to his 1978 album rendition with Swapan Chaudhury: “Suha is a time-tested traditional raga, and so is Todi…[however] their combination, though happily feasible, is not commonly heard…[Suha’s] Kanada trend blended with a raga of the morning [Todi] creates a sublime sentiment that captures and emotionally susceptible mind…taans abound in syncopating patterns”. The resulting scale (an exact murchana of Miyan ki Malhar) appears to have no prakritis, placing Dha in a position of natural prominence as the only shuddha chal and only ‘detached‘ swara – with the komal dha barely featuring at all. In more recent years, Kirana vocalist Moumita Mitra has made it part of her repertoire, emphasising the Sa–ga sangati and generally limiting komal re to concluding lines (“a self-composed drut ektal bandish with lyrics from [Bhatkhande’s] Kramik Pustak Malika Bhairav: Moumadi Moumadi Japat Hu Rain Din“). Not to be confused with Suhani Todi (a rare audav raga) – and also see other Khansaab creations including Chandranandan, Gaurimanjari, Malayalam, and Medhavi.

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राग सुहा तोडी

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—Ali Akbar Khan (1978)—

[gat, e.g. 14:14] nnPmP, S Sn\P, mP, (m\)g/mrS; nnPmP, S…

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• Recent Raga Index Updates (Dec 2025): Added new ragas: e.g. Asa, Basant Bahar, Badhans Sarang, Bayati, Chandni Todi, Chandraprabha, Deepavali, Firozkhani Todi, Gaud, Japaniya, Kaushiki, Latangi, Maru, Palas, Sarangkauns, Shivanjali, Shrutivardhini • ‘Bifurcations‘: analysis via ‘poorvang + uttarang’ formulas • DoGa Kalyan & the Beatles’ Blue Jay Way • Amir Khan’s ‘168 merukhands’ • Uncovered Prabhateshwari‘s origins • Transcribed Manjiri Asanare-Kelkar’s ‘Amodini‘ lec-dems • Experiments (e.g overtonal Bhairav, jazz Malkauns) • Survey of Sa Tunings • More Masterlist ragas (1000+)

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Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: (none found)

–Swara Geometries–

• Core form: S–r–g–m–P–dD–n–S

• Reverse: SRgGmPDNS

• Negative: 3-2-2-5

• Imperfect: 2 (Pa, Dha)

• Detached: 1 (Dha)

• Symmetries: none

• Murchanas: Miyan ki Malhar set

• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

–Global Translations–

• Carnatic: (~Punnagatodi)

S-R₁-G₂-M₁-P-D₁-D₂-N₂-S

• Jazz: Phrygian (dbl. 6th)

1-b2-b3-4-5-b6-6-b7-8

• Pitch classes (‘fret-jumps’):

0-1-3-5-7-8-9-10-0

(1–2–2–2–1–1–1–2)

o o • o • o • o o o o • o

• Tanpura: Sa–Pa

• Names: Suha Todi

• Transliterations: Hindi (सुहा तोडी)

—Moumita Mitra (2022)—

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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!