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. Rajan Parrikar describes it as an “Asavariant”, closely tied to the phraseologies of the Asavari family: some see the ragas as indistinguishable, while others consider Jaunpuri to take more ‘rounded’ melodic shapes, and permit greater use of ni in both directions. Adopted into Carnatic music as ‘Jonpuri’ – and also turns up on a couple of ultra-early Hindustani recordings (Gauhar Jan in 1902 & Abdul Karim Khan in 1905).

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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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• 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)—