S-gG-m-D-n-S

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A low-high combination of Jog and Rageshri (SgGm+DnS) invented by Ravi Shankar and first released on a stellar 1980 album – although he was performing it at least 5 years before this: e.g. a 1975 rendition from an all-night concert in Varanasi. Jog’s strong shuddha Ga dominates the poorvang, while motions towards the uttarang revolve around Rageshri’s m-D jump (e.g. GmDm, mDG, mDnS), and avroh movements may place phrases from both ragas in rhythmic parallel (e.g. SnDm, GmgS). Described by Tanarang as “very melodious and straightforward…a meend-pradhan raga [which] can be rendered freely in all three octaves” – although Tanarang’s description of a “rather deep atmosphere” doesn’t match so much with my own ears, which have always heard more of a flittering, folksy lightness in the raga (for further emotional variance, Shankar’s student Tarun Bhattacharya describes it as encapsulating a “melancholic, devotional aspect”). The basic scale (a Pa–murchana of the Jog-allied Tilang) is curious in that its that ‘reverse‘ is the same as its ‘negative‘ (=SRgPdDS). Also explore other Jog-based fusions including Tanarang’s Jogeshwari Pancham, J.P. Gunidas’ Jogkauns, & Ulhas Bapat’s Amrut Ranjani – plus other Ravi-authored forms such as Parameshwari, Gangeshwari, Kameshwari, Rangeshwari, Mohankauns, Bairagi, Bairagi Todi, Ahir Lalit, & Pancham se Gara.

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राग जोगेश्वरी

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—Ravi Shankar (1980)—

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[gat, e.g. 0:02] (S)n D m, GmG (m)g/m, nSDn g\S, Gm GmD, D(nSn)D, m…

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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

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: (none found)

Also see other ragas matching the generic swaras ‘Sa-Ga-Ma-Dha-Ni‘

–Swara Geometries–

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• Core form: S–gG–m–D–n–S

• Reverse: SRgPdDS (=negative!)

• Negative: 2-1-4-1-1-3 (=reverse!)

• Imperfect: 2 (Sa, Ga)

• Detached: none

• Symmetries: none

• Murchanas: Tilang (on ma)

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• Quirks: ‘reverse form = negative form‘

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–Global Translations–

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• Carnatic: ~Vagadeeshvari

S-G₂-G₃-M₁-D₂-N₂-S

• Jazz: Dorian (dbl. 3rd, no 2nd/5th)

1-b3-3-4-6-b7-8

• Pitch classes (‘fret-jumps’):

0-3-4-5-9-10-0

(3–1–1–4–1–2)

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o • • o o o • • • o o • o

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• Tanpura: Sa–ma

• Names: Jogeshwari, Jogeswari, Jogesvari

• Transliterations: Hindi (जोगेश्वरी)

—Salil Bhatt (2010)—