Jod in Hindi conveys the meaning of 'connection' or also 'through which things are connected.' It serves as the part that links the arrhythmic phase of the Ālāpa with the Tāra-Ālāpa, the rhythmic part, which also incorporates the Jhālā.For the Joḍ to effectively fulfill its role of conjunction, it needs to be expressed in a subtle manner so as not to introduce any detachment or discordance within the overall performance. Hence, only a slight rhythmic hint is transmitted during this transition phase.Madh or Madhya - this phase maintains a medium-speed tempo where rhythmic hints first appear. This moment is further divided into three sub-categories:1. Madhya-Vīlambita
2. Madhya-Madhya
3. Madhya-DrutaThese are relative terms without specific time measurements, as the tempo depends on the musician and audience. However, it is essential to consider that some instruments allow for a more sustained performance than others.Madhya-Vīlambita: Musicians refer to this phase as 'Ḍagar kī Baḍhat,' where Ḍa, Ga, and Ra strokes on the Vīṇā increase in speed. Factors like Cikārī, Mīḍ, and Syuṁt (Āśa) become more frequent compared to the previous Vīlambita. Selective use of the sixty-three Alaṁkāras is incorporated.Madhya-Madhya: Musicians term this phase 'Madh Joḍ' or sometimes 'Barābar Kī Joḍ.' 'Barābar' in Hindi takes on the meaning of 'flowing' or 'well-suited.' Gamaka-Joḍ is used during this phase, and Mīḍ and Syuṁt (Āśa) decrease, with notes expressed independently. Cikārī is used to a minimum, and the appearance may resemble the Khaṇḍāra Vāṅī, introducing the Viḍāra composition style.Madhya-Druta: Some musicians refer to it as 'Laḍī-Joḍ.' It remains similar to Madhya-Madhya but slightly faster, with a further decrease in the use of Cikārī.Druta: This phase is marked by a higher-speed tempo and the total absence of Cikārī. It is also divided into three sub-categories: 
1. Druta -Vīlambita
2. Druta -Madhya
3. Druta -DrutaDetails about these subdivisions are not necessary, with reference to the previous ones sufficing.