Jaijaivanti

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Jaijaivanti
Thaat
Time of day6 pm to 9 pm
Arohana S R G M G R, M P N 
Avarohana   D P M G R  R S
Pakad R  R S,  S   R
Vadi Re (poorvanga vadi)
Samavadi Pa
EquivalentDwijavanthi
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 Sikh 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]

Contents

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

Aaroh

S R G M G R, M P N 

Avroh

  D P M G R  R S

Pakad

R  R S,  S   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  :  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 :  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

Language : Hindi

SongMovieComposerSingers
Mausam Suhana Dil Hai Deewana Suvarna Sundari P. Adinarayana Rao Lata Mangeshkar
Yeh Dil Ki Lagi Kam Kya Hogi Mughal-e-Azam Naushad Lata Mangeshkar
Zindagi Aaj Mere Nam Se Sharamati Hai Son of India (1962 film) Naushad Mohammad Rafi
Bairan Ho Gai Raina Dekh Kabira Roya Madan Mohan Manna Dey
Manmohana Bade Jhuthe Seema (1955 film) Shankar–Jaikishan Lata Mangeshkar
Suni Suni Saaj Ki Sitar Par Lal Patthar Shankar–Jaikishan Kishore Kumar
Dil Deta Hai Ro Ro Duhai Phir Teri Kahani Yaad Aayee Anu Malik Alka Yagnik
Main Radha Tu Sham Vishwaroop Shankar–Ehsaan–Loy Shankar Mahadevan & Kamal Haasan
Baapu Sehat Ke Liye Dangal (film) Pritam Sarwar Khan & Sartaz Khan

Tamil

SongMovieComposerSinger
"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
"Unnai Kaanadhu Naan" Vishwaroopam Shankar–Ehsaan–Loy Shankar Mahadevan

Language : Telugu

SongMovieComposerSingers
Nee Needalona Nilichenuraa Suvarna Sundari P. Adinarayana Rao P. Susheela
Kanavera Muni Raja [6] Panduranga Mahatyam T. V. Raju P. Leela
Himagiri Sogasulo [7] Pandava Vanavasam Ghantasala (musician) Ghantasala (musician) & P. Susheela
Manasuna Manasai Doctor Chakravarty S. Rajeswara Rao Ghantasala (musician)
Vadasi Yadi Kinchidapi Priye Chaaruseele [8] Bhakta Jayadeva S. Rajeswara Rao Ghantasala (musician)
Ee Mooga Choopela [9] Gaali Medalu T. G. Lingappa Ghantasala (musician) & Renuka
Aadave andala surabhamini Yamagola K. Chakravarthy S. P. Balasubrahmanyam

Language : Urdu

SongMovieComposerSingers
"Dil Ka Diya Jalaya" Koel (film) Khwaja Khurshid Anwar Noor Jehan

Albums

Tamil

SongAlbumComposerSinger
"Yayum Nyayum Yarakiyaro" Sandham- Symphony Meets Classical Tamil Rajan Somasundaram Karthik, Pragathi Guruprasad
"Unnai Konjum Neram"Unnai Konjum Neram - SingleSanjay Ramakrishnan - Vijay VeerapandiyanSreekanth Hariharan, Amirt K Narayan

Urdu

Malayalam

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.

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Gara is a Hindustani classical raga belonging to the Khamaj Thaat. This raga is similar to raga Jaijaiwanti. Both ragas i.e. raga Jaijaiwanti and raga Gara, have the same svaras. Gara is a rare raga. It is rendered in the late evening. The raga uses all the seven notes, six in the ascent and seven in the descent. Therefore, the Jati of the raga is Shaadav-Sampurna. While some say that seven svaras are played in the ascent and seven in the descent. Therefore, the Jati then becomes Sampurna-Sampurna. It uses both, the Komal (flat) and Shuddha (full) Nishad, and all other notes are Shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Khamaj Thaat. Gara belongs to a family of melodic entities, which were apparently derived from folk melodies, and entered art-music in association with the thumri genre. This family includes ragas like Kafi, Piloo, Jangula, Barwa, and Zilla, along with several others. This raga expresses the feeling of happiness and satisfaction of achievement, however it simultaneously conveys the sadness of losing. This raga is also a vivacious and romantic one.

References

  1. Mackenzie, Sir Compton; Stone, Christopher. The Gramophone. Vol. 77, Issues 915-918. p. 100.
  2. Kapoor, Sukhbir Singh; Kapoor, Mohinder Kaur (2002). Guru Granth Sahib: an advance study. New Delhi: Hemkunt Press. ISBN   978-81-7010-317-2.
  3. Mani, Charulatha (2013-07-05). "A complex beauty". The Hindu. ISSN   0971-751X . Retrieved 2022-09-05.
  4. www.musicaloud.com/2014/03/17/raga-dwijawanti-jaijaiwanti/
  5. www.musicaloud.com/2014/03/17/raga-dwijawanti-jaijaiwanti/
  6. pandurangamahatyam. "KanaveraMunirajaMouli". youtube(videostreaming). Retrieved 15 November 2008.
  7. SaregamaTelugu. "PandavaVanavasamuHimagiriSogasulo". youtube(videostreaming). Retrieved 20 December 2013.
  8. SaregamaTelugu. "BhaktaJayadevaPriyeCharuseele". youtube(videostreaming). Retrieved 13 June 2014.
  9. GhantasalaTopic. "EeMoogaChoopela". youtube(videostreaming). Retrieved 24 June 2015.