As per convention, raags in Hindustani music do not allow chromatic usage of swaras, but like many other aspects of this tradition, there a...
As per convention, raags in Hindustani music do not allow chromatic usage of swaras, but like many other aspects of this tradition, there are some exceptions to this rule. This flexibility only goes to show that the aesthetic balance between freedom and discipline in this tradition, an idea that could teach us a lot in our day to day activity too.
This week, we look at the raag Jog, which uses both varieties of the third or Gandhara. Some musicians choose to use both varieties of the seventh or Nishad, although the more popular version only uses the lower seventh.
But it is the manner of using the Gandhara that is pertinent to this discussion. While some musicians use the upper third on the ascent and the lower third on the descent, others use the two chromatically when they descend in a meend or a gradual glide from the fourth or Madhyam to the lower third. However, this chromatic usage is normally discernible in slower melodic passages, particularly in the aalaap section and during the free-flowing vistaar or elaboration over the rhythmic canvas.
We will listen to both interpretations in this episode. The following tracks also demonstrate the different ways in which the Nishads...
