Jog

Rag Jog has a scale which is unusual in the North Indian tradition, with both natural and flat Ga but without Re and Dha. This is a rag of South Indian origin where it is known as Chalnat. In fact, in dhrupad tradition also it is known by the same name. However in the khayal tradition it is known as rag Jog.

Tone material:  S g G m P n

Ascent uses natural Ga, whereas flat Ga is featured in the descent. It is common to use both natural and flat Ga interspersed with either Sa or Ma in the ending phrase, as in G m g S or G S g S. Although it is unusual to play chromatic forms of a given note in immediate succession, some musicians (as also the case in the recording presented here) do play both forms of Ga one after the other in the descending passages. Sa and Pa are important notes and Ga is a resting note. In addition to the rag described here, there is also a variety of Jog that includes natural Ni along with flat Ni (Thakurdas [Rag-darshan II) 1899: 286). This variety of Jog is akin to rag Chalnat referred above.

Some characteristic phrases:
P n S g- S
G m g \S
G Sg \S
G m P n \P

It is possible to get shades of Tilang, especially when both Ni-s are used. However the presence of Ga helps maintain the atmosphere of rag Jog. Rag Jogkauns is distinct from Jog. With both forms of Ga present, there is a slight element of Jog in Jogkauns, but the latter, using flat Dha and natural Ni, is more complex.

Time: late night (ibid)
The South Indian tradition does not follow the time theory. Nonetheless, rag-s adopted from this system into North Indian tradition have been assigned a certain time.

Further listening:
Recording by Veena Sahasrabuddhe
Recording by Bahauddin Dagar (Chalnat)

Performance by Ashwini Bhide

Composition: chhota khayal

जारे जा जा कगवा
इतनो कहियो मोरा
पिया को मोरे संदेसवा

बिरहन तरपत बावरी
सुध न लिनी घडी पल छिन
देर भयी बालमवा

The lovelorn dame is requesting a bird to convey a message to her beloved. She cannot bear the agony of long separation and wants him to return to her.

Tal: Ektal (medium tempo)

Performance:
4-11: Performance opens with a typical phrase – ng \n S
38: After a couple of phrases with flat Ga, now natural Ga is in focus
58: Note the ornamental (murki) approach to Ma, merging into natural Ga
67-75: Melody moves further to Pa, which is sustained
76: Descend from flat Ni. Note a touch of Ga for Ma (77), which is held and the transition from Ma to Ga (80-81) with an ornament (murki)
88-94: Smooth glide (mind) from Ma to natural Ga, to flat Ga
105: First line of the composition. The refrain starts on the first beat (sam) itself of the 12-beat rhythmic cycle
125-145: The same line is presented with little variation
145: Second line
165: Last line of the first part of the composition (sthayi). Note the melody rising up to flat Ga in the high octave
179-238: The first part is repeated with variations
246: Second part of the composition (antara)
267: Next line
266: Concluding line of the composition. Note many gliding movements throughout the compositions creating intense appealing effect
313: Elaborations in the lower and the middle octave using vowel ‘aa’. Note a glide from Ma to flat Ga via natural Ga, merging in to Sa (313-318)
383-407: Flat Ga is in focus
414-429: Phrases in this section highlight the Natural Ga, followed by concluding phrase -G mP G m g \S
432-449: Elaborations around Ma. Note the held Ma ending with an ornament (murki) including Pa (436-437), which recurs with some variation
452-469: Pa is sustained but phrase also includes Ni
473-498: Melody ascends to high Sa and beyond