S-R-g-m-P-d-n-S

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Jaunpuri is a late morning raga, likely originating in the Sultanate-era music of Jaunpur in Uttar Pradesh (as per Subodh Agrawal: “The rulers of Jaunpur were keen patrons of the arts, and the last one – Sultan Hussain Sharqi – was himself a distinguished musician; it is probable that the Jaunpuri flavor of Asavari was developed by him, or under his patronage“). Rajan Parrikar elaborates on its “Asavariant” status, noting that some (including Omkarnath Thakur) see it as essentially indistinguishable from Shuddha Re Asavari, while others consider Jaunpuri to follow more ‘rounded’ melodic motions, as well as permitting a greater use of ni in aroha – with the liner notes to Kishori Amonkar’s 1967 debut LP stating that “the pakad is mPDmPGRS“. Jaunpuri is audible on a couple of ultra-early Hindustani recordings (Gauhar Jan in 1902 & Abdul Karim Khan in 1905) – and has also been adopted into Carnatic music as ‘Jonpuri’ in recent times. Compare to interlinked forms such as Gandhari, Bahaduri Todi, and Jaun Bhairav.

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• Raga Megalist (365+) •

राग जौनपुरी

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• Hindustani Raga Index •

Aroha: SRmPdnS

Avroh: R(S)ndP, dmPgRS

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Chalan: e.g. nSR(n)dS; (m)RmP; (n)dP; dmP(m)gRS; (m)RmP(n)dS; nSR(n)dP; mPS(n)dP; mPmdP; ndP; dmP(m)g; (S)RS (Bor/Dasgupta)

—Kushal Das (2021)—

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[jor phrases, e.g. 2:17] d(nd)/S, S, S SSS…, S(ndPm) R, m PmP/n(d)P, n\d/S; R(SR) R R, RRgR(g)R n/S\n, (S)R R R(Sn); n S, d S, P g R R, S(g)…

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• Experiments •

Novel interpretations of the raga’s essence…

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—Stuart Hinds (overtonal vocals)—

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“Jaunpuri (‘Inner Strength and Determination’)…The idea for the ‘Color of the Melody’ project is to use raga principles for polyphonic overtone singing. I sing two contrapuntal lines – fundamentals and overtones – creating a texture that is harmonic as well as melodic. These are not raga performances per se, but are true to the essential features of traditional raag: thaat, aroha–avroh, vadi–samvadi, pakad, rasa, and time of day…” (Stuart Hinds)

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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: Asavari thaat, Asavari shuddha Re, Kaunsi Kanada, Darbari, Adana, Kaushiki, Sampurna Malkauns

–Proximate Forms–

Bhairavi = ‘Jaunpuri komal re‘

Kafi = ‘Jaunpuri shuddha Dha‘

Charukeshi = ‘Jaunpuri komal ga‘

Malkauns = ‘Jaunpuri no Re/Pa‘

Suha Kanada = ‘Jaunpuri no dha‘

Gopika Basant = ‘Jaunpuri no Re‘

(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: SRGmPDnS (=Khamaj)

• Negative: 2-3-2-3-2 (e.g. Megh)

• Imperfect: 1 (Re)

• Detached: none

• Symmetries: mirror (m—N)

• Murchanas: Bilawal set

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

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–Global Translations–

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• Carnatic: Jonpuri

S-R₂-G₂-M₁-P-D₁-N₂-S

• Jazz: Natural Minor / Aeolian

1-2-b3-4-5-b6-b7-8

• Pitch classes (‘fret-jumps’):

0-2-3-5-7-8-10-0

(2–1–2–2–1–2–2)

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o • o o • o • o o • o • o

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• Tanpura: Sa–Pa (+dha)

• Names: Jaunpuri, Jonpuri, Jivanpuri, Jeevanpuri, ~Shuddha Re Asavari

• Transliterations: Hindi (जौनपुरी); Kannada (ಜಾನ್ಪುರಿ); Malayalam (ജോൺ പുരി)

—Kishori Amonkar (2000)—

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Also listen to another of Kishori’s Jaunpuri recordings: the opening track to her 1967 debut LP. As per the liner notes: “Jaunpuri is a morning melody, usually sung two to three hours after the sunrise. The mood is indicative of the intense yearning of a girl eager to meet her lover on the sly, but unable to do so for fear that the jingle of her anklets may betray her. The piece [Baje Jhananana] is a khayal in slow tempo tintal…a rare piece in which the mood of the raga and song and the style of singing are in perfect unison, aesthetically exquisite. This is followed by another song in the same tala, but in fast tempo [Chuum Chananana Bichuwa]. The raga omits [Ga and Ni] in aroha, and takes all the other notes [komal] except for [Re]. The pakad is mPDmPGRS…”

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