Raga Jhinjhoti- Continued

Here is the first video of Raga Jhinjhoti – a fast (drut) composition in 16 beat (teentaal) followed by a variant of the same composition set to the same taal.

This composition is from the Shahjahanpur Sarod Gharana, and was developed by Abdullah Khan or Mohammad Amir Khan…

Originally meant for the sarod, this has been adapted on other instruments. The composition has several rhythmic accents, which take time to learn.

The notations are :

RR MM GG, DD nn P D S R  G (Sam)

-R M PD Sn R S nn D PD, M P DD MM g RG,

SS RR g SS n D nn

P D  S R G, S R M G (RR MM GG etc)

The antara is very complex and I’ve found that a lot of musicians leave it out.

G S R M P D n P D M, P D S R GGR R S

D S R M G, D S RS N D PD, M P D MM G RG

SS RG SS n D nn P D S R G, S R MG (RR MM etc)

The key points of this composition is to stick to the rhythm. As the composition veers off  the main beat, the rhythm has to be tightly controlled. Fortunately, the composition does not veer off randomly, it still maintains the flow of the taal, so can be learnt after some practice.

Here’s a Youtube video of me playing this composition, recorded at a practice session in my room…

Beautiful Ragas from the Khamaj Garden- Raga Jhinjhoti

Recently I played at the Independence day function for a local association, and ended up playing Raga Desh. Which made me think of other ragas which are related to Desh. In this category lies the beautiful raga Jhinjhoti. For some reason, Bengalis often call this raga Jhijhit…. not quite sure why….

Here’s a brief introduction to Jhinjhoti as I’ve leant it…

Raga Jhinjhoti

Thaat (Parent): Khamaj

Ascending: Aarohan: S  R M P D S

Descending: Avrohan: S n D P M G R S

Pakad (Distinctive Phrase):  P(lower) D (Lower) S R G – R P M G, S R G n(lower) D (lower) S

Jhinjhoti is a sweet raga, full of emotion and feeling. I visualise bright flowers in a beautiful garden when I think of Jhinjhoti. While it’s considered a light raga, there is no end to plumbing its depths….

In the instrumental tradition, the Shahjahanpur Gharana takes the honours for detailed treatment of Jhinjhoti. In particular, two compositions by Abdullah Khan and Mohammed Amir Khan demand special attention. They are rhythmic, bright, sweet and unique. Under the masters of Shahjahanpur, these have become part of the repertoire of a generation.

I’ll continue this discussion with the first of these compositions in Drut Teentaal.