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 take more ‘rounded’ melodic shapes, as well as permitting a greater use of ni in aroha. Adopted into Carnatic music as ‘Jonpuri’ – and also audible on a couple of ultra-early Hindustani recordings (Gauhar Jan in 1902 & Abdul Karim Khan in 1905). Also see interlinked forms such as Gandhari, Bahaduri Todi, and Jaun Bhairav.

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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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• 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), Darbari, Kaunsi Kanada, Adana, Sampurna Malkauns

–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

—Kishori Amonkar (2000)—