S-R-G-P-D-n-S

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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…).

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• Raga Megalist (365+) •

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• Hindustani Raga Index •

Aroha: SGPDnS

Avroh: SnDPGRS

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

—Shivkumar Sharma (1996)—

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

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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: (none found)

–Swara Geometries–

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• Core form: S–R–G–P–D–n–S

• 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–

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• Carnatic: Janasammohini

S-R₂-G₃-P-D₂-N₂-S

• Jazz: Mixolydian (no 4th)

1-2-3-5-6-b7-8

• Pitch classes (‘fret-jumps’):

0-2-4-7-9-10-0

(2–2–3–2–1–2)

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o • o • o • • o • o o • o

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• Tanpura: Sa–Pa (+ni)

• Names: Jansammohini, Janasammohini, Janasanmodini

—Ashwini Bhide-Deshpande (2018)—