Jaijaivanti: Difference between revisions
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m Notation improvements to use svaraH, aroha according to The Raga Guide |
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| time = 6 pm to 9 pm |
| time = 6 pm to 9 pm |
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| season = |
| season = |
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| arohana = |
| arohana = {{svaraH|S|R|G|m|G|R,|m|P|N|S'}} |
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| avarohana = |
| avarohana = {{svaraH|S'|n|D|P|m|G|R|g|R|S}} |
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| vadi = Re (poorvanga vadi) |
| vadi = Re (poorvanga vadi) |
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| samavadi = Pa |
| samavadi = Pa |
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| pakad = |
| pakad = {{svaraH|R|g|R|S,|'N|S|'D|'N|R}} |
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| chalan = |
| chalan = |
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| equivalent = Dwijavanthi |
| equivalent = Dwijavanthi |
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== Composition == |
== Composition == |
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=== Aarohana === |
=== Aarohana === |
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{{svaraH|S|R|G|m|G|R,|m|P|N|S'}} |
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Re ga (komal) re sa, re ga (shuddha), ma pa dha pa, ni sa. |
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=== Avaroha === |
=== Avaroha === |
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{{svaraH|S'|n|D|P|m|G|R|g|R|S}} |
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Sa ni (komal) dha pa, dha ma ga re, re ga (komal) re sa. |
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=== Pakad === |
=== Pakad === |
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{{svaraH|R|g|R|S,|'N|S|'D|'N|R}} |
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Re ga komal re sa (mandra saptak) ni (shuddha) sa dha ni re |
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It is classified as a "Paramel Praveshak Raga", i.e. a ''raga'' that has the characteristics of a particular m''ela'' or ''thaat'' and that has additional notes that allow it to qualify under another ''mela'' or ''thaat''. Jaijaivanti has both ''Shuddha'' Ga and ''Komal'' Ga. It also has ''Shuddha'' Ni and ''Komal'' Ni usage as well. If more stress or focus is put on the ''Shuddha'' Ga and Ni notes, the ''raga'' shows the characteristics of the Khamaj ''thaat''. Whereas if more focus is applied to the Komal Ga and Komal Ni notes in the same raga, the characteristics of the Kafi Thaat are highlighted. |
It is classified as a "Paramel Praveshak Raga", i.e. a ''raga'' that has the characteristics of a particular m''ela'' or ''thaat'' and that has additional notes that allow it to qualify under another ''mela'' or ''thaat''. Jaijaivanti has both ''Shuddha'' Ga and ''Komal'' Ga. It also has ''Shuddha'' Ni and ''Komal'' Ni usage as well. If more stress or focus is put on the ''Shuddha'' Ga and Ni notes, the ''raga'' shows the characteristics of the Khamaj ''thaat''. Whereas if more focus is applied to the Komal Ga and Komal Ni notes in the same raga, the characteristics of the Kafi Thaat are highlighted. |
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Revision as of 08:39, 28 November 2022
| Thaat |
|
|---|---|
| Time of day | 6 pm to 9 pm |
| Arohana | S R G M G R, M P N Ṡ |
| Avarohana | Ṡ Ṉ D P M G R G̱ R S |
| Pakad | R G̱ R S, Ṇ S Ḍ Ṇ R |
| Vadi | Re (poorvanga vadi) |
| Samavadi | Pa |
| Equivalent | Dwijavanthi |
| Similar | Gara |
Jaijaivanti or Jaijaiwanti is a Hindustani classical raga belonging to Khamaj Thaat.[1] According to the Guru Granth Sahib, this raga is a mixture of two others: Bilaval and Sorath. The raga appears in the latter section in Gurbani, as only four hymns were composed by Guru Tegh Bahadur, the ninth guru. These hymns were added by his son and successor Guru Gobind Singh in 1705 A.D. This raga is not mentioned in any Indian classical scriptures on music nor in the Ragmala.[2]
According to Guru Granth Sahib, Jaijaivanti (ਜੈਜਾਵੰਤੀ) expresses the feeling of happiness and satisfaction of achievement, while simultaneously conveying the sadness of losing. An apt simile for this Raag is that of a king winning a battle, however, he is then told that his son has perished on the battlefield. This Raag conveys a sense of having to put duty first. The duality of the emotions of joy and sorrow prevents overreacting to good or bad news. Raga Jaijaiwanti bears the closest resemblance to raga: Gara.
Composition
Aarohana
S R G M G R, M P N Ṡ
Avaroha
Ṡ Ṉ D P M G R G̱ R S
Pakad
R G̱ R S, Ṇ S Ḍ Ṇ R
It is classified as a "Paramel Praveshak Raga", i.e. a raga that has the characteristics of a particular mela or thaat and that has additional notes that allow it to qualify under another mela or thaat. Jaijaivanti has both Shuddha Ga and Komal Ga. It also has Shuddha Ni and Komal Ni usage as well. If more stress or focus is put on the Shuddha Ga and Ni notes, the raga shows the characteristics of the Khamaj thaat. Whereas if more focus is applied to the Komal Ga and Komal Ni notes in the same raga, the characteristics of the Kafi Thaat are highlighted.
Possible notes
- Ni Sa Dha Ni (komal) Re, Re Ga (komal) Re Sa.
- Pa Re Ga (komal) Re Sa, Ma Pa Ni (shuddha) Re (tar saptak) Ni (komal) Dha Pa, Dha Ma Ga Re, Re Ga (komal) Re Sa.
In Carnatic music
Jaijaivanthi :
ārohanam : S , D₂ N₂ R₂ , R₂ G₃ M₁ P M₁ G₃ M₁ G₃ R₂ , R₂ M₁ P *N₃ Ṡ
avarohanam : Ṡ N₂ D₂ P D₂ M₁ G₃ M₁ R₂*G₂ R₂ S , N₃*S D₂ N₂ R₂ S
It is a janya ragam of the 28th melakarta ragam Harikambhoji.
Jeeva swaram : R₂ and P
Anya swaram : G₂* and N₃*
Dwijavathi :
ārohanam : S R₂ M₁ G₃ M₁ P D₂ Ṡ
avarohanam : Ṡ N₂ D₂ P M₁ G₃ M₁ R₂*G₂ R₂ S N₂ D₂ N₂ S
Jeeva swaram : R₂ and M₁
Anya swaram : G₂*
It is a janya ragam of the 28th melakarta ragam Harikambhoji. It is also known as Jujāvanti(formerly)/ Dwijavanthi(modern name) (pronounced Dvijāvanti) in the Carnatic tradition and in the Yakshagana theatre tradition.[3] It rubs shoulders with Sahana(carnatic), in certain phraseology.[4] Desh ang or Sorath ang is not used in dwijavanti.There is absolutely no use or very less use of N₃* {Kakali nishadam(carnatic)/Shuddh nishad(hindustani)}.[5] Rendition of Dwijavanti is usually done with incorporating shades of Sahana and Bageshri and with its signature phrase : M₁ G₃ M₁ R₂ G₂ R₂ S.
Film songs
Tamil
| Song | Movie | Composer | Singer |
|---|---|---|---|
| "Enathullamae" | Meera | S. V. Venkatraman | M. S. Subbulakshmi |
| "Amutha Tamizhil" | Madhuraiyai Meetta Sundharapandiyan | M. S. Viswanathan | P. Jayachandran, Vani Jairam |
| "Anbae Sughama (Sahana Traces)" | Paarthale Paravasam | A. R. Rahman | Srinivas, Sadhana Sargam |
| "Mannapenin Sathiyam" | Kochadaiiyaan | Haricharan, Latha Rajinikanth | |
| "Mazhai Mega Vanna" (Charanam only) | Desam | K. S. Chitra, Srinivas | |
| "Mouname Paarvayai" | Anbe Sivam | Vidyasagar | S. P. Balasubrahmanyam,Chandrayee |
| "Poi Solla Kudathu" | Run | Hariharan | |
| "Mukundha Mukundha"(Ragam Kapi toches also) | Dasavathaaram | Himesh Reshammiya | Sadhana Sargamam |
Hindi-Urdu
| Song | Movie | Composer | Singer |
|---|---|---|---|
| "Dil Ka Diya Jalaya" | Koel | Khawaja Khursheed Anwar | Noor Jahan (Late) |
| "Man Mohana Bare Jhoote" | Seema | Shankar–Jaikishan | Lata Mangeshkar |
| "Sooni Sooni Saaz Ki Sitaron Par" | Laal Pathhar | Shankar–Jaikishan | Asha Bhosle |
| "Dil Deta Hai Ro Ro Duhai" | Phir Teri Kahaani Yaad Aayi | Anu Malik | Alka Yagnik |
| "Main Radha Tu Sham" | Viswaroopam | Shankar–Ehsaan–Loy | Shankar Mahadevan, Kamal Hassan |
| "Baapu Sehat Ke Liye" | Dangal | Pritam |
Albums
Tamil
| Song | Album | Composer | Singer |
|---|---|---|---|
| "Yayum Nyayum Yarakiyaro" | Sandham- Symphony Meets Classical Tamil | Rajan Somasundaram | Karthik, Pragathi Guruprasad |
| "Unnai Konjum Neram" | Unnai Konjum Neram - Single | Sanjay Ramakrishnan - Vijay Veerapandiyan | Sreekanth Hariharan, Amirt K Narayan |
Urdu
- Ghazal: "Ghuncha-e-Shoq, Laga Hai Khilnay" (Singer: Ustad Mehdi Hasan, Notes: Re ga (komal) Re Sa Ma)
- Ghazal: "Dost Ban Kar Bhi Nahin" (Singer: Ustad Ghulam Ali)
Malayalam
- "Oruneram Enkilum" (Singers: Yesudas, Chitra)
Performance
"Jaijaivanti" is sung during the first prahar of the night—from 6:00 to 9:00 pm. It is generally recited in the summer or grishma. "Jaijaivanti" is sung by 2 aangs, i.e. the Desh aang and the Bageshri aang.
References
- ^ Mackenzie, Sir Compton; Stone, Christopher. The Gramophone. Vol. 77, Issues 915-918. p. 100.
- ^ Kapoor, Sukhbir Singh; Kapoor, Mohinder Kaur (2002). Guru Granth Sahib: an advance study. New Delhi: Hemkunt Press. ISBN 978-81-7010-317-2.
- ^ Mani, Charulatha (2013-07-05). "A complex beauty". The Hindu. ISSN 0971-751X. Retrieved 2022-09-05.
- ^ www
.musicaloud .com /2014 /03 /17 /raga-dwijawanti-jaijaiwanti / - ^ www
.musicaloud .com /2014 /03 /17 /raga-dwijawanti-jaijaiwanti /