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 vocalist, music educator, spiritual teacher, and generous patron of the nascent Mewati gharana (see below: also hear his famous Mata Kalika bandish). Some link its twists and turns to the melodic lineages of Jaunpuri, Todi, and Ahir Bhairav, while Parrikar gives a chalan of Srg, rgrS, SrmPDn, DP, mPnD PPD, PmmP mg, rgrS (“ga is typically dropped in aroha movements extending beyond ma”). Refer to a rhythmic rendition by Pandit Jasraj below (who, in his youth, studied under Jaiwant Singh), also showcasing some superb harmonium support, I think from the great Appa Jalgaonkar (n.b. on the off-chance that any sonically-supportive kings are reading: perhaps you’d like to patronise my raga project?). Also see the overlapping Ahiri Todi.

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Aroha: SrgmPDnS

Avroh: SnDPmgrS

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

—Pandit Jasraj (1982)—

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[refrain, e.g. 0:18] 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

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: Thaat #30, Ahiri, Prabhateshwari

–Swara Geometries–

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• Core form: S–r–g–m–P–D–n–S

• Reverse: SRgmPDNS (=Patdeep)

• Negative: 3-2-2-2-3 (e.g. Tivrakauns)

• 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

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

—Amit Arya (2010)—