S-R-G-P-D-S

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A Bhupali–prakriti raga which blends Jait with the Kalyan-ang, retaining the former’s strong Pa–Sa sangati amidst descending lines from the latter such as DP(G)RS. Re may be played weakly in aroha, rendering some upward-moving sections of the raga surtar, while glides of (D)G and (P)G are frequent. Seemingly introduced to the ragascape by Jaipur-Atrauli founder Alladiya Khan (also the progenitor of Maru Bihag and Dagori) – and remains rare today, likely due to the challenge of differentiating its swara set from Bhupali and Deshkar. Refer to Manjiri Asanare-Kelkar’s excellent Amodini demo lesson for in-depth coverage of how to differentiate the raga these two prakritis, in which she states that “the peculiar Jait Kalyan phrase is SSG GP(MP)G; [expanded] like this: SSG GP PDPG PG GRS, PP/SS, SS SRS(NS)P PDPG” (also see lec-dem notes from a similarly-themed K.G. Ginde breakdown).

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राग जयत कल्याण

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• Hindustani Raga Index •

Aroha: SRGP, DS

Avroh: SDP, GPRS

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Chalan: signatures, e.g. SSG GP; PDPG; PG GRS; PP/SS; SS SRSP; PDPG (Asanare-Kelkar)

—Mallikarjun Mansur (1968)—

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[refrain, e.g. 0:40] SS S/P(G), SGP(GS)G (P)G P(GD)P, (GS)G RS, (PDP)D, SDP, P/SS, SS S/P(G)…

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• More •

Histories, melodies, mythologies, etc…

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—Manjiri Asanare-Kelkar: Amodini—

Here’s a transcription of Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s demo lesson, covering her tradition’s incarnation of the raga (from her superb Amodini: The Joy of Rare Ragas series):

 

“Namaskar, today we are going to explore Jait Kalyan: S(N)S, SSG RS(N)S (N)S, SS SG GP PPG, SG GP(MD)P PG, GP(MD)P PG R(SN)S (R)S, PG GP, P(MDPM)P P/S, PS(NSNR)S SP(MDPM)PG, SG GP PS D(PM)P PG, (S)PPG P(MD)P PG R(SN)S (NR)S.

 

This is a Kalyan group raga: the Kalyan element P(P)G DPG GRS PG is present. Now we will see how the raga progresses: SS SG RS, SP, PDPPSS SG GRS, SS SG GP(MP)G, SGGPG. The peculiar Jait Kalyan phrase is SSG GP(MP)G; [expanded] like this SSG GP PDPG PG GRS, PP/SS, SS SRS(NS)P PDPG. In this raga, Dha is not extended: e.g. S(NS)P PDPG, or SDPP PDPG, and Re is not elongated very much either.

 

This is the overall picture of the raga: SSRS(NS)P PDPG, SSG GPG DPG GRS, SP GGP, SG RS PGGPG, PDPPG, PS, SSG RS S(NS)P, PPSG SGGP DPGG RS, PGGP S(RSNS) GGP, SPPG GP, SPPG GGP PG RS, PPG PDP PS(NS)P PSSP PPG SGPDP PG RS.

 

Jait Kalyan, Bhupali, and Deshkar all share the same scale: SRGPDS. l will now demonstrate how these three ragas look different:

• [Jait Kalyan] SSG GPG, SGGP PDP, PS(NS)PG, DPG GRS, PGPG RS SGGP GRS
• [Bhupali] GR RGRP(GP)G, GRGR SSRS\D, PS\D DS, GR PG, RGPD PGR, RPGDPG RG RS, PPS\D, PS(D)PS, SRS\D GPS\DP G, RGPDPG RGRPG R, SRS\DS
• [Deshkar] S(S)D PDGP, GPDS(D)D, GPDS(RS)D PDGP, S(S)D, GPDSDPGP, GPDPD, PG RS, RDS, PG GPPD, GPDS, SRSDPPG, SPDGPG DPGRS

I will conclude this session with a bandish in tintal…”

 

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—Jait Kalyan (Amodini demo)—

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Also see Manjiri’s other Amodini demos: Abhogi Kanada, Bahaduri Todi, Baradi, Dagori, Dev Gandhar, Gauri, Hussaini Todi, Jait Kalyan, Jaitashree, Kabiri Bhairav, Kaunsi Kanada (Nayaki-ang), Khat (Asavari-ang), Khokar, Lalita Gauri, Lanka Dahan Sarang, Malavi, Maligoura, Mudriki Kanada, Ramdasi Malhar, Raisa Kanada, Shukla Bilawal, Sughrai, Suha, Vihang

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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

Thaat: 10 | 32 | Enclosed | Inexact

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

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

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

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

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Bhupali, Deshkar, Pahadi

Also see other ragas with the generic swaras ‘Sa-Re-Ga-Pa-Dha‘ – and compare to the rest of the Kalyan raganga

–Proximate Forms–

Shivranjani = ‘Jait Kalyan komal ga‘

Jansammohini = ‘Jait Kalyan add ni‘

Shankara = ‘Jait Kalyan add Ni‘

Bilawal = ‘Jait Kalyan add ma/Ni‘

Khamaj = ‘Jait Kalyan add ma/ni‘

(n.b. these are just ‘scalar similarities’, with nothing particular implied about phraseological overlap)

–Swara Geometries–

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• Core form: S–R–G–P–D–S

• Reverse: SgmdnS (=Malkauns)

• Complement: SrgmMdnNS

• Imperfect: 1 (Ga)

• Detached: none

• Symmetries: mirror (R—d)

• Murchanas: Bhupali set

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• Quirks: ‘atritonal‘ (no available tritones) • ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• Carnatic: ~Mohanam

S-R₂-G₃-P-D₂-S

• Jazz: Major Pentatonic

1-2-3-5-6-8

• Pitch classes (‘fret-jumps’):

0-2-4-7-9-0

(2–2–3–2–3)

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o • o • o • • o • o • • o

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• Tanpura: Sa–Pa

• Names: Jait Kalyan, Jeth Kalyan, Jayat Kalyan

• Transliterations: Hindi (जयत कल्याण); Bengali (জয়ত কল্যাণ)

—Kishori Amonkar (~1990s)—