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 the distinguishing feature of Jaijaiwanti”) – 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), and the Pa–Re sangati is highlighted with long slides. Described by Debasmita Bhattacharya as offering “strongly ambiguous elements” (who 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 yesterday, as Jaijaiwanti has some feelings of water in it”). Also popular in filmi, Gurbani, and beyond – and adapted into Carnatic music as ‘Dwijavanthi’.

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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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• 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.

–Swara Geometries–

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• Core form: S-R-gG-m-P-D-nN-S

• Reverse: SrRgmPdDnS (=Amiri Todi)

• Inverse: dha; SmnS (=none)

• Imperfect: 1 (Ni)

• Detached: none

• Symmetries: mirror (r—P)

• Murchanas: Jaijaiwanti set

–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)

—Kishori Amonkar (~1980s)—