S-r-g-m-P-D-n-S

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An Ahiri–prakriti raga introduced by Maharaja Jaiwant Singh Waghela (1904-1980): a hereditary King of Sanand who also gained wide renown as a spiritual teacher, vocal educator, and generous patron of the nascent Mewati gharana (also hear his famous Mata Kalika composition). Its twists and turns are linked to the lineages of Todi, Ahir Bhairav, and Jaunpuri, with Parrikar noting that “ga is typically dropped in aroha movements extending beyond ma”. Refer to a rhythmically-charged rendition by Pandit Jasraj, who, in his youth, studied under Jaiwant Singh (also showcasing some superb harmonium support from the great Appa Jalgaonkar), as well as a recent composition by Aarshin Karande (“inspired by a dream Karande had about Jasraj-ji, his grand-guru“). Also see the overlapping Ahiri Todi […and on the off-chance that any sonically-supportive kings are reading: perhaps you’d like to patronise my raga project?].

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राग जयवन्ति तोड़ी

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Aroha: Srgm, PDnS

Avroh: SnDP, mgrS

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Pakad: Srm, PDPm, rgrS

Chalan: e.g. Srg; rgrS; SrmPDn; DP; mPnD; PPD; PmmP; mg; rgrS (Parrikar)

–Pandit Jasraj (1982)–

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[refrain, e.g. 11:19] r(S) D(nD), g\r(gr)S rm, PDP(mPm) m(g) g(r) r(S)S, r(S) D(nD), g\r(gr)S rm…

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• More •

Histories, melodies, mythologies, etc…

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—Imagery: Jaiwant Singh & Jasraj—

“Pandit Jasraj – a maestro and a legend – is no more. While the world pens thoughts on his virtuous voice and ethereal bhajans, my mind travels to the distant, sleepy town of Sanand in Gujarat, where his heart resided. Pandit-ji’s connection with the vaghelas [rulers] is immense. It was at a very early age when he travelled to the state with his elder brother Pratap Narayan, to learn from the legendary ruler Jaiwant Singh Waghela…” (Anshu Khanna)

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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: Thaat #30, Ahiri, Prabhateshwari, Ganeshkauns

Also compare to other members of the Todi raganga

–Swara Geometries–

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• Core form: S–r–g–m–P–D–n–S

• Reverse: SRgmPDNS (=Patdeep)

• Complement: SRGMdNS

• Imperfect: 3 (re, Pa, Dha)

• Detached: 2 (re, Dha)

• Symmetries: mirror (m—N)

• Murchanas: Charukeshi set

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• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• Carnatic: ~Natakapriya (mela #10)

S-R₁-G₂-M₁-P-D₂-N₂-S

• Jazz: Dorian b2

1-b2-b3-4-5-6-b7-8

• Pitch classes (‘fret-jumps’):

0-1-3-5-7-9-10-12

(1–2–2–2–2–1–2)

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o o • o • o • o • o o • o

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• Tanpura: Sa–Pa

• Names: Jaiwanti Todi, Jayawanti Todi

• Transliterations: Hindi (जयवन्ति तोड़ी)

—Amit Arya (2010)—