• Raag Jayant Malhar •


An enchanting combination of Jaijaiwanti and Miyan ki Malhar, featuring correspondingly complex paths through the double Ga and Ni positions. Moumita Mitra’s explanation notes that some interpretations may alternate between the two parent ragas in a segmented, sequential manner, whereas others prefer to present their phrases in more intermingled fashion (e.g. RGm(G)P mGm\R; (m)R/P (m)gmR(SR)S: a signature which also turns up in some interpretations of Ramdasi Malhar). While few others seem to have published formal analysis of the raga, many have recorded effective renditions: most are by male singers, such as Ramrang, Ulhas Kashalkar, Ram Deshpande, Sanjeev Abhyankar, and Sawani Shende – however Apoorva Gokhale & Pallavi Joshi have also performed a swooping duet, and Mita Nag and Rajeev Taranath have played it on sitar and sarod respectively. Also see other Jaijaiwanti compounds including Jaijaiwanti Nat and Jayant Sarang.

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Aroha: SRGmPDnNS
Avroh: SNnDPmgRS

Chalan: e.g. NSRN; SDnR; RPgmR; nDNS; RGmP; mPnDNS; NSRnDP; mGRgR; RPgmRS; nDP; mPnDNS (Abhirang)


—Ulhas Kashalkar (2018)—

[motifs, e.g. 3:50] RGmG(R), GRG, G mG(R), G(R), G(RGR), RPm\R m(gmg), m(gPmgm) R(SNSN)R, S(NR)mRP, P(mP)n m(R) m\g R(g)mRS, RGmG(R)…


• 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.+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: Jaijaiwanti, Jaijaiwanti Nat, Gara, Zila Kafi, Hanskinkini, Ramdasi Malhar, Rageshri Bahar, Tilang Bahar, Nagadhwani Kanada, Patdeepaki


–Swara Geometries–

Core form: SRgGmPDnNS
Reverse: SrRgmPdDnS (=Amiri Todi)
Negative: 5-5-2
Imperfect: 1 (Ni)
Detached: none
Symmetries: mirror (r—P)
Murchanas: Jaijaiwanti set

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


–Global Translations–

Carnatic: ~Kapi
Jazz: Dorian-Ionian
Pitch classes (‘fret-jumps’):

o • o o o o • o • o o o o


• Tanpura: Sa–Pa
• Names: Jayant Malhar, Jai Malhar, Jaijaiwanti Malhar, Jayantha Malhara


—Mita Nag (2020)—




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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]

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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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