• Raag Jansammohini •


Broadly running along the lines of ‘Kalavati plus shuddha Re’ (especially in avroh), Jansammohini is a captivating Carnatic import. Explored to powerful effect across vocal and instrumental music, the raga’s robust geometries are capable of housing everything from bhajan (Ashwini Bhide-Deshpande’s Ganesh Vandana) and freewheeling sitar solos (Ravi Shankar’s rhythmic take) to epic, full-length santoor duets (Shivkumar & Rahul Sharma’s astonishing Real World rendition: speaking as a santoor player, this is probably the most vivid sound quality I’ve ever heard from the instrument). Still surprisingly rare, Jansammohini seemingly has no prakriti ragas despite its relatively simple structure (‘Khamaj no ma’). Aside from the clear imprints of Kalavati, the raga allows for relatively free exploration – with artists naturally tending to emphasise the wide P-G jump, and descending whole-tone run between G-R-S-n (e.g. GRG, RSR, SnS, DPG…).

Raga Megalist (365+) •
Search | Glossary | Tags
Hindustani Raga Index •


Aroha: SGPDnS
Avroh: SnDPGRS

Chalan: variable – e.g. SnDS; (G)RG; GPGR; GRS; nDS; GPnD; PDnDS; SnD; PGPDPGR; GP(G)R; nDS (Ramrang)


—Shivkumar Sharma (1996)—

[gat, e.g. 0:02] GRG, RSR, SnS, DPG; GP (Sn)DS, nDPGR SnSRG…


• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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 | 32Enclosed | Inexact

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

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

Symmetries: Mirror | Rotation | Palindr.

Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1Av.+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: (none found)


–Swara Geometries–

Core form: SRGPDnS
Reverse: SRgmdnS
Negative: 2-2-2-1-2-3 (e.g. Mangal Gujari)
Imperfect: 2 (Ga, ni)
Detached: 1 (ni)
Symmetries: none
Murchanas: Raj Kalyan (on ni)


–Global Translations–

Carnatic: Janasammohini
Jazz: Mixolydian (no 4th)
Pitch classes (‘fret-jumps’):

o • o • o • • o • o o • o


• Tanpura: Sa–Pa (+ni)
• Names: Jansammohini, Janasammohini, Janasanmodini


—Ashwini Bhide-Deshpande (2018)—




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Hindustani Raga Index

An open-ended project seeking to bring North Indian raga closer to all who approach with open ears. Combines direct input from dozens of leading Hindustani artists with in-depth insights from music history, global theory, performance practice, cognitive science, and much more! [out 2023-24]

Megalist (365+ ragas)
Search: Find your new favourite •
Tags: Classifying the ragascape •
Glossary: Raga jargon demystified
Murchanas: Swara-set rotations •
Thaat: Bhatkhande’s base scales •
Ragatable: Analytical connections •
Tanpuras: Divine overtonal drones •
Quotes: Musings from raga artists •
Talas: Hindustani rhythm cycles •
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Feedback / Contact •

George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

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