S-r-G-M-P-d-N-S

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A sunset raga prominent in the Jaipur-Atrauli gharana, blending Shree with Jait’s komal re incarnation. Some, such as Ulhas Kashalkar, render the aroha ‘triswari’, limiting it to the three swaras of Malashree (SGP), set in Jait Kalyan-style phrases such as SG, GP, PSP – although the avroh is more clustered, often skipping taar Sa at the turnaround (e.g. NrNdP). Deepak Raja also documents “a less formal blend of the two ragas, evident in the renditions of Kishori Amonkar, [where] phrases from Shree are also used occasionally in ascent, and phrasing typical of Puriya Dhanashree is allowed to occur in the mid-octave” (n.b. in Bhatkhande’s era, shuddha Dha seems to have been a feature too). Read more in Raja’s ever-intriguing analysis of the Jaipur-Atrauli ‘achop‘ method (“alternating phrases from the component ragas are rendered sequentially, often in a dovetailed manner, to shape the melodic personality of the compound…[which] produces very enigmatic melodic entities most of the time. However, in rare cases, such as Jaitashree, this approach can lead to the unintended entry of alien phrasing…”). Also see Manjiri Asanare-Kelkar’s bandish-based breakdown, and an AUTRIM pitch-graph tracing the tones of a Mashkoor Ali Khan recording.

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राग जैतश्री

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Aroha: SGPS

Avroh: rNdPMGrS

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Chalan: e.g. GrSG; PdMG; MPNS; SGrS; NrNdP; PMdMG; MGrS (Bhatkhande/Raja)

—Ulhas Kashalkar (2015)—

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[bandish, e.g. 1:13] SG (M)G/P, P(MPM)d PMG r, SrN\d P; S(M)G (P)G/P, P(MP), P(MPM)d dM MG Gr, S(NSMGMG)P P(MdPMG) M(GM), GrS G…

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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, and welcome once again. Today I’m going to talk about a very beautiful jod raga, and a speciality of the Jaipur-Atrauli gharana: Jaitashree. I will begin with the alap: SG GP, PPG, SP PPG GPPdMGr S, S(NS)rS, SP PGrGrS, SG GP, P(Md)P PG, S(PG)P, P(MP)S SSP, P(Md)P, P(MdPMP)S SSrNdP, P(MP)rNdP P(Md)P P(MdPMP)dMG, SG GP PG GGPPGr GP, (G)PGrS, SSG GGP.

 

Jaitashree is a combination of Jait Kalyan and Shree – I will now demonstrate both these ragas in brief. First, Shree: Sr, rPr rMPdMGr, rPrGrS, MPNSr NdP, PSSrNdP, MPdMGr, rGrP rMGr, GrS. And now, Jait Kalyan: SSG GP PDPG, P PDP PSP PG, SGGP, PDPG GRS, SRS.

 

Now we will see how these two ragas are combined. My thumb will represent Shree, and my index finger will represent Jait Kalyan: PrGrS, SSG GP PDP PG, SG GP PdMGr, GGPG GrS SrS, P(G)rP SGGP, P PDP PS(NS)P (the phrase PSP is used in both the ragas: if I sing it like this, it is Jait Kalyan: P PDP PS(NRS)P, and if I sing it like this, it is Shree: Pd(P)P P(MP)PS SrNdP). Now we will move ahead: PPS SrNDP, P PDP PS, S(Nr)S, P MPdPMG, SGGP, PS(PS)P, PrNdP, PdMGrPr, SGGP, P(D)PG PG PGrS; SG GP, P PPG GGP dMG, SGGP, P(DPMP)S, S(NS)GrS, SrGrNdP, PS SP, P(DP) PG, SG MdMG GrS SP PG, PS SP PrNdMG GP P(DPMP)G, PPG GrS. That is the overall structure of Jaitashree. I am going to conclude this session with a beautiful bandish in rupak…”:

 

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—Jaitashree (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: Poorvi thaat, Shree, Puriya Dhanashree, Basant, Tankeshree, Gauri Basant

–Proximate Forms–

Todi = ‘Jaitashree komal ga‘

Bhairav = ‘Jaitashree shuddha ma‘

Poorvi = ‘Jaitashree double Ma‘

Din ki Puriya = ‘Jaitashree no Pa‘

Maligoura = ‘Jaitashree double Dha‘

Hansa Narayani = ‘Jaitashree no Dha‘

(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–M–P–d–N–S

• Reverse: SrGmMdNS (=Lalit)

• Complement: SRgmDnS (=Shadav Bageshri)

• Imperfect: 2 (Pa, dha)

• Detached: none

• Symmetries: none

• Murchanas: Basant set

–Global Translations–

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• Carnatic: ~Kamavardhini (mela #51)

S-R₁-G₃-M₂-P-D₁-N₃-S

• Jazz: Lydian b2 b6

1-b2-3-#4-5-b6-7-8

• Pitch classes (‘fret-jumps’):

0-1-4-6-7-8-11-0

(1–3–2–1–1–3–1)

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o o • • o • o o o • • o o

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• Tanpura: Sa–Pa (+Ni)

• Names: Jaitashree, Jaitshree, Jaitasiri, Jaishree, Jayantashree, Jetasree

• Transliterations: Hindi (जैतश्री); Bengali (জয়শ্রী)

—Kishori Amonkar (1996)—