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Jog is a Raga in Hindustani classical music. It is one of the more popular ragas appearing often in films. Sometimes, experts assign this raga to be a member of Kafi thaat.
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Jog is a Raga in Hindustani classical music. It is one of the more popular ragas appearing often in films. Sometimes, experts assign this raga to be a member of Kafi thaat.
Raga Jog omits the second and the sixth intervals, Ri and Dha, making it pentatonic, or Audav in nature. In ascending, it uses Shuddha Ga, and in descending, it uses Komal Ga. It takes Raga Tilang for its base which itself is derived from Khamaj thaat.
The Arohana is: Sa Ga Ma Pa ni(komal) Sa' The Avarohana is: Sa' ni(komal) Pa Ma Ga(shuddha) Ma ga(komal) Sa
In the notes of the Western scale in the key of C, these roughly correspond to C, E, F, G, B♭, C; C, B♭, G, F, E, F, E♭, C.
The raga is played during the late evening (9 PM – 12 night): 2nd Prahar of the night, Ratri ka Dwitiya Prahar
| Song | Movie | Composer | Singer |
|---|---|---|---|
| Parayanmarana | Garshom | Ramesh Narayan | Hariharan |
| Kathil Thenmazhayay | Thumboli Kadappuram | Salil Chowdhury | K.J. Yesudas |
| Pramadavanam | His Highness Abdulla | Raveendran | K.J. Yesudas |
| Oru kili pattu moolave | Vadakumnathan | Raveendran | K.J. Yesudas, K.S.Chitra |
| varmukile | Mazha | Raveendran | K.S.Chitra |
| Song | Movie | Composer | Singer |
|---|---|---|---|
| Noor-Un-Ala | Meenaxi: A Tale of Three Cities | A. R. Rahman | Murtaza Khan, Qadir Khan, Palakkad Sreeram |
| Year | Film/Album | Language | Song | Singer(s) | Composer | Lyrics | Audio Label |
|---|---|---|---|---|---|---|---|
| 2018 | SUR Sandya | Sanskrit | "Ajam Nirvikalpam" | Uma Sheshgiri | Mahesh Mahadev | Adi Shankaracharya | PRISM Music |
| 2019 | Kandenu Sri Raganathana | Kannada | Athadyaniso Manuja | Priyadarshini | Mahesh Mahadev | Sri Yogi Nareyana | PM Audios |
Hanumatodi, more popularly known as Todi, is a rāgam in Carnatic music. It is the 8th melakarta rāgam in the 72 melakarta rāgam system. This is sung very often in concerts. It is a difficult rāgam to perform in owing to its complexity in prayoga. It is called Janatodi in Muthuswami Dikshitar school of Carnatic music. Its Western equivalent is the Phrygian mode. Todi in Carnatic music is different from Todi (thaat) of Hindustani music. The equivalent of the Hindustani raga Todi in Carnatic music is Shubhapantuvarali. The equivalent of Carnatic Todi in Hindustani is Bhairavi thaat in terms of notes, but the two sound very different due to differing uses of gamakas.
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Sriranjani is a ragam in Carnatic music. It is a hexatonic scale. It is a derived scale, as it does not have all the seven swaras. It is also written as Shri ranjani or Shree Ranjani. It also exist in Hindustani music, with a different scale. Aroh: Sa, komal Ga, Ma, Dha, komal Ni, Sa; Avroh: Sa, komal Ni, Dha, Ma, komal Ga, Ré, Sa.
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Rishabha is the second svara out of the seven svaras of Hindustani music and Carnatic music. Rishabha is the long form of the syllable रे for simplicity while singing the syllable. Rishabha is pronounced as Re and Ri.
Gandhara is the 3rd svara from the seven svaras of Hindustani music and Carnatic music. Gandhara is the long form of the syllable ग. For simplicity in pronouncing while singing the syllable, Gandhara is pronounced as Ga.
Dhaivata is the sixth svara from the seven svaras of Hindustani music and Carnatic music. Dhaivata is the long form of the syllable ध. For simplicity in pronouncing while singing the syllable, Dhaivata is pronounced as Dha.
Nishada is the seventh and last svara in Hindustani music and Carnatic music. Nishada is the long form of the syllable नी. For simplicity in pronouncing while singing the syllable, Nishada is pronounced as Ni.
Madhyam is the fourth svara from the seven svaras of Hindustani music and Carnatic music. This article is written from the Hindustani perspective. Madhyam is the long form of the syllable म. For simplicity in pronouncing while singing the syllable, Madhyam is pronounced as Ma. It is also called as मध्यम in the Devanagri script.