S-R-gG-m-P-D-nN-S

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A much-beloved but highly intricate raga, featuring both variants of Ga and Ni. Dhrupadyas hold NSDNR as the essential pakad (with some bemoaning the loss of the “slow glide from Ga to Re…as Jaijaiwanti’s distinguishing feature”) – while modern performers tend to ‘enclose’ the komal ga in the avroh phrase RgR, preferring the shuddha in most other scenarios. Uttarang movements may take after Sorath (mPNS) or Bageshri (mDnS), with the Pa–Re sangati being highlighted via long slides, amidst other features drawn from Chaya and beyond. Described by Debasmita Bhattacharya as offering “strongly ambiguous elements” (she told me that she chose it for a Darbar concert in London, “to see how complex ragas would communicate to a complex audience…I’m happy it was raining, as Jaijaiwanti has some feelings of water in it…”). Popular in filmi, Gurbani, and beyond – and recently adapted into Carnatic music as ‘Dwijavanthi’.

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• Raga Megalist (365+) •

राग जयजयवन्ती

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• Hindustani Raga Index •

Aroha: NSRGmGR, mPNS

Avroh: SnDP, mgRgRS

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Chalan: e.g. NS(N)DnR; RG(R)GmPmGR; RgRSRNS; Dn(G)RGmP; DmPNS; (N)R(S)nDP; (P)DmGR; gRNS; RnDPR (Bor/Dasgupta)

—Bismillah Khan (1968)—

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[theme, e.g. 25:02] G\R, RG(R)mG, Pm G(mG)R, S(R) Rg R\S, S N S, SD/n, S, G\R, RG(R)mG…

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• Experiments •

Novel interpretations of the raga’s essence…

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—Raga Jazz Style (Shankar-Jaikishan)—

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Captivating melodies from filmi composition duo Shankar-Jaikishan, released in 1968. Read more in my review of the album’s reissue: “Raga Jazz Style is a rare recording from the rich Bombay jazz scene. While its 1968 release date might suggest a pioneering work of Indo-jazz fusion, part of the recording’s intrigue is that it is not. Rather, it is one of the few surviving documents from a fusion scene that dates back to the 1920s – few realise that jazz was thriving in India before Coltrane was even born…” 

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Jaijaiwanti Nat, Gara, Zila Kafi, Hanskinkini, Jayant Malhar, Ramdasi Malhar, Rageshri Bahar, Tilang Bahar, Nagadhwani Kanada, Patdeepaki

–Swara Geometries–

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• Core form: S–R–gG–m–P–D–nN–S

• Reverse: SrRgmPdDnS (=Amiri Todi)

• Negative: 5-5-2

• Imperfect: 1 (Ni)

• Detached: none

• Symmetries: mirror (r—P)

• Murchanas: Jaijaiwanti set

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• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’) • ‘Pa-repeating‘ (poorvang and uttarang take the same ‘semitone shape’)

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–Global Translations–

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• Carnatic: Dwijavanthi

S-R₂-G₂-G₃-M₁-P-D₂-N₂-N₃-S

• Jazz: Dorian-Ionian

1-2-b3-3-4-5-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-2-3-4-5-7-9-10-11-0

(2–1–1–1–2–2–1–1–1)

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o • o o o o • o • o o o o

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• Tanpura: Sa–Pa (+Re)

• Names: Jaijaiwanti, Jaijaiawanti, Jaijaiavanti, Jaijavani (historic)

• Transliterations: Hindi (जयजयवन्ती); Bengali (জয়জয়ন্তী); Urdu (جے جے ونتی); Punjabi (ਜੈਜਾਵੰਤੀ); Kannada (ಜೈಜೈವಂತಿ)

—Kishori Amonkar (~1980s)—