S-R-g-m-P-d-n-S

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The term ‘Jungala’ (or ‘Jangla’) generally indicates a ‘reworked’ variant of a well-known raga rather than a specific set of swaras – for example Yunus Hussain Khan’s ‘Jangla-Gara‘ restricts Gara‘s melodies to shuddha Ga and Ni only, and Jagdish Prasad’s ‘Jangla-Bhairavi‘ adds a prominent double-Ni to Bhairavi‘s basic shape. Usually associated with folk-derived forms, several prominent ‘Jungalas’ are linked to Hafiz Ali Khan’s Senia-Bangash sarod lineage, although their titles can be confusing – e.g. his ‘Pilu Jungala‘ sounds much more like Darbari or Adana, with a SdnSRg(m) refrain and (m)gmRS resolutions; while his son Amjad’s ‘Pilu Jungla‘ does show clear Pilu influences via including shuddha Ni and shades of shuddha Ga. Sarodiya Rahul Bhattacharya notes that “Amjad Ali Khan in the early 1990s plays a fabulously crafted Pilu Jungala, which morphs into Vilayat Khan’s famed Gara composition, then onto Enayet Khan’s wondrous Bihari gat, then a few heritage compositions in pure Pilu which can be traced back to Mohammad Amir Khan. The opening Pilu Jungala is a pedigree composition of Hafiz Ali Khan…”. Ali Akbar Khan also recorded a markedly mishra raga titled ‘Pilu Jangula’ – although his take, punctuated by an unusual chikari tuning of Sa–Ni, has limited phraseological overlap with the Senia-Bangash forms. Also refer to other ‘Janglas’ by Narayanrao Vyas and Bade Ghulam Ali Khan.

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राग जंगला

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—Hafiz Ali Khan (~1960s)—

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[gat, e.g. 0:01] dnSR(R)g, gmPP(P) (m)gmRS nR(R)SS, (SR)mR gR SS, dnSR (g)R(g)R SS, dnSR(R)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, Jaunpuri, Adana, Sampurna Malkauns

–Swara Geometries–

(based on Hafiz Ali Khan’s Darbari-ang Jungala)

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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: ~Natabhairavi (mela #20)

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

• Names: Jungala, Jangola, Jangla, Jingla, Jungol (n.b. the term typically indicates a ‘reworked’ raga rather than a specific form)

• Transliterations: Hindi (जंगला)

—Ali Akbar Khan (~1970s)—