S-R-gG-m-P-D-nN-S
A barely-explored compound of Jaijaiwanti and Shuddha Nat, which blends the basic structure of the latter raga with flourishes from the former. The only renditions I can trace are those of Bhimsen Joshi, who may be the raga’s inventor (although some sources suggest the great Jaipur-Atrauli guru Azizuddin Khan instead) – beginning in the 1970s (e.g. a 1970 baithak, the 1972 Sadarang Conference, and a 1978 American show), and culminating in its release on his 1997 Rarely Heard Ragas album (along with Hindolita and Bageshri Bahar). His performances generally showcase a strong shuddha Ga, with komal ni included in avroh flourishes (e.g. nD(n)P), and komal ga barely featuring at all (when it does, it is limited to andolan motions and the Jaijaiwanti-like g\R ornament). Further research is hindered by a lack of titling clarity for many existing Joshi recordings (e.g. this rendition‘s treatment of double-Ni suggests it may in fact be the nearby Jayant Malhar).
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—Bhimsen Joshi (1997)—
[refrain, e.g. 2:07] (S)G mGR, (GR)G RS, PNR(NP), (S)G\R (GR)S, S/G, G(mG)G/m GR (GR)S, (S)G\R, R…
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Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):
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.
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, Gara, Zila Kafi, Hanskinkini, Jayant Malhar, Ramdasi Malhar, Rageshri Bahar, Tilang Bahar, Nagadhwani Kanada, Patdeepaki
–Swara Geometries–
• 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
• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)
–Global Translations–
• Carnatic: ~Kapi
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)
o • o o o o • o • o o o o
• Tanpura: Sa–Pa (+Ni)
• Names: Jaijaiwanti Nat, Jaijaivanti-Nat, Jai Nat
—Bhimsen Joshi (1978)—