Personally I find the modulating experience of great value if one has mastered the seven suddha jati melodies of medievial indian music. The theory has it that modulating or mixing the seven suddha jatis one can arrive at 11 more mixed jaties. Jaties are the melodies in which ragas started to shine through, as stated in scriptures. Such they were regarded as the origin of ragas. The big question here is, why should there be 11 mixed jatis? Modulating could perhaps provide an answer? On the other hand 11 = 22/2, which could relate the mixed jaties to the number of shruties. The 22 shruties do have sentiments each, that is they are conceived as emotional. So 11 mixed jatis could be the results when you mix 22 shruti based melodies two by two? Although this is stated nowhere, it could have been possible to have existed at a time and was forgotten, the memory of 11 jaties remained and the phenomena was explained as resulting from modulating the 7 suddha jaties.
If you like to modulate jaties you may post me a PN.
chrisitar wrote:I really like your idea and I think you've done a great job 'flowing' through the hours with Samay-specific raags. I too have always been fascinated with the concept of samay-raag. I think it's a beautiful set of guidelines to help shape or encapsulate the mood created by the day, or the mood reflected by the music. The idea about only changing one note from raag to raag is really interesting too, so much can change with just one note being altered. Some of the transitions could be hard to make because of very distinct raags like Lalit or Todi in the morning and also tanpura tuning (sa-pa or sa-ma). If im not mistaken some raags do not have a samay associated with them (Charukeshi, Kirwani, ?) so they could be used as gateways to other thaats. Keep it up! I'l try to make a 'plan' when I have more time.
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