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 a K.G. Ginde breakdown of their differences, as well as Manjiri Asanare-Kelkar’s excellent demo lesson).

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• Raga Megalist (365+) •

राग जयत कल्याण

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Aroha: SRGP, DS

Avroh: SDP, GPRS

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Chalan: signatures, e.g. PDGP; DPRS; SP; SP, DPRS (Ginde)

—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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• 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: Bhupali, Deshkar, Pahadi

–Swara Geometries–

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• Core form: S–R–G–P–D–S

• Reverse: SgmdnS (=Malkauns)

• Negative: 2-2-2-1-2-2-1 (e.g. Yaman)

• 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

—Manjiri Asanare-Kelkar (2020)—