S-r-m-P-d-N-S

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Jogiya (from Sanskrit yogi: ‘State of Union’) is a shadav raga of considerable mystique. Tanarang recounts “a characteristic mood of devotion and detachment…Jogiya has komal re and dha like Bhairav, however they are not oscillated…and shuddha ma is powerful as nyas and vadi”. Generally expandable in madhya and taar saptaks, the raga’s geometries revolve around its two parallel 4-semitone sangatis (r-m & d-S). Ni is omitted in ascent, and often treated as a kan to dha in descent (e.g. S(N)dP), while ma is often approached via meend (e.g. r/m, d\m). Variance persists concerning the role of shuddha Ga: some omit it in aroha or entirely, while others afford it more prominence (e.g. Amjad Ali Khan: P(mGm); (G)rS). Some artists also season the scale with touches of komal ni, particularly in light-classical settings (see melodic summary). The most famous bandish is probably Hari Ka Bhed Na Paya (e.g. Gangubai Hangal & Bhimsen Joshi). Krishnananda Vyas’ 1842 Sangita Raga-Kalpadruma depicts Jogiya as “Holding a trident, a snake, and a veena; With braids of matted hair falling about her limbs, whitened with ashes; Violent and furious in the heroic vein; She is a yogini, adept in all the lore of yoga”.

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राग जोगिया

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• Hindustani Raga Index •

Aroha: e.g. SrmPdS

Avroh: e.g. SNdm, PdmrS

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Pakad: variable, e.g. Srm; mPdm; PdmrS

Chalan: e.g. Srm; mP; PmrS; rSdS; mPdS; S(N)dP; mPdndm; mrS (Parrikar)

• Lies close to Bhairav (e.g. mPd(N)d; S(N)dP) – but komal re and dha are not oscillated, and some artists omit shuddha Ga (although others include it in descending motions such as mPdm(G)m; dm(GmG)rS)

• The shuddha ma vadi is a resting tone in both directions, often approached with slow meend (e.g. r/m; d\m) – and many avoid pause on shuddha Ni, rendering it weakly in aroha (e.g. mP(N)dS)

• Komal ni is sometimes featured in phrases around mPd(n)d, and many renditions include flourishes of other outside swaras (e.g. P(DSnDn)dm; P(MP)dm; m(Gmg)rS)

• Linked to the dawn hours, in line with its Bhairav-ang associations, and generally presented in a calm, contemplative style (the name derives from ‘yogi’: ‘state of union’), avoiding overly dramatic ornaments

—Amjad Ali Khan (2016)—

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[alap, e.g. 3:12] Sr/mPd(P) P(mGm)G rS S, S/m m(GrmGrS), r/P(rmGrS), S r/P(rmrP) P, r(m)m PdPP, Pddd(Pm), mP, mPd dPm, G(mG) rSSS, d/r r, r(NrG) r(G) r(S)S (N)S, N(S) N(S) N(Sr) S(rS) N\d, m\r(P), P(NdSdrNSN), SrmPd, dPmG G(mG) r(S) SS…

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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

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

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: (none found)

See all shadav ragas which omit Ga – and also compare to other members of the Bhairav raganga

–Swara Geometries–

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• Core form: S–r–m–P–d–N–S

• Reverse: SrGmPNS

• Complement: SRgGMDnS

• Imperfect: 3 (Pa, dha, Ni)

• Detached: 1 (Ni)

• Symmetries: none

• Murchanas: none

–Global Translations–

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• Carnatic: ~Saveri

S-R₁-M₁-P-D₁-N₃-S

• Jazz: Double Harmonic (no 3rd)

1-b2-4-5-b6-7-8

• Pitch classes (‘fret-jumps’):

0-1-5-7-8-11-0

(1–4–2–1–3–1)

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o o • • • o • o o • • o o

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• Tanpura: Sa–Pa (+dha)

• Names: Jogiya, Jogia, Jogi, (~Savera ki Asavari)

• Transliterations: Hindi (जोगिया); Bengali (যোগিয়া)

—Ravi Shankar (1963)—