• Raag Jogeshwari •


A low-high combination of Jog and Rageshri 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 his 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). The basic scale form (a Pamurchana 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 Jogeshwari Pancham, as well as J.P. Gunidas’ Jogkauns and Ulhas Bapat’s Amrut Ranjani – plus other Ravi-authored forms such as Parameshwari, Gangeshwari, Kameshwari, Rangeshwari, MohankaunsBairagi, Bairagi Todi, Ahir Lalit, and Pancham se Gara.

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—Ravi Shankar (1980)—

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


• 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: (none found)


–Swara Geometries–

Core form: SgGmDnS
Reverse: SRgPdDS (=negative!)
Negative: 2-1-4-1-1-3 (=reverse!)
Imperfect: 2 (Sa, Ga)
Detached: none
Symmetries: none
Murchanas: Tilang (on ma)

Quirks: ‘reverse form = negative form


–Global Translations–

Carnatic: ~Vagadeeshvari
Jazz: Dorian (dbl. 3rd, no 2nd/5th)
Pitch classes (‘fret-jumps’):

o • • o o o • • • o o • o


• Tanpura: Sa–ma
• Names: Jogeshwari, Jogesvari


—Salil Bhatt (2010)—



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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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