Mishra Khammaj (Gat in Teental)

Mishra Khammaj (Gat in Teental) is a recording of a North Indian classical instrumental performance by sitarist Budhaditya Mukherjee. The composition follows the gat form, a fixed melodic framework for improvisation, set in Teental, a 16-beat rhythmic cycle. The raga Mishra Khammaj blends elements of Khammaj thaat with embellishments from allied ragas, characterized by its use of shuddha ni (natural seventh) and komal re (flattened second) in descent.

The performance spans 13 minutes and 18 seconds. Mukherjee employs the gayaki ang (vocal-style phrasing) on the sitar, a technique associated with the Etawah gharana and later refined by his guru, Mushtaq Ali Khan. The recording captures a live or studio rendition, though the exact release date, label, and accompanying artists (e.g., tabla player) remain undocumented in available sources. The track structure adheres to the conventional alaap-jor-jhala progression followed by the gat, with improvisational taans (fast melodic runs) and murkis (ornamental turns).

The composition exemplifies Mukherjee’s adherence to the vilambit (slow) and drut (fast) sections typical of khayal-influenced instrumental music. Notable passages include the elaboration of the madhyam (fourth note) as a focal point for melodic development and the use of meend (glissando) to emphasize the raga’s emotional depth. The recording’s technical execution highlights the resonance of the jawaari (bridge) and the clarity of chikari (sympathetic strings) in sustaining the tanpura drone.

Contextual details such as the album title, production credits, or historical significance of this specific performance are not widely published. Mukherjee’s interpretations of Mishra Khammaj appear in his broader discography, which includes collaborations with labels like Saregama and Music Today, though this track’s association with a particular release requires further verification.