Jaijaivanti: Difference between revisions

'''Jaijaivanti''' or '''Jaijaiwanti''' is a [[Hindustani classical music|Hindustani classical]] ''[[raga]]'' belonging to [[Khamaj Thaat]].<ref>{{cite book |last=Mackenzie |first=Sir Compton |author2=Stone, Christopher |title=The Gramophone |volume=77, Issues 915-918 |page=100}}</ref> According to the [[Guru Granth Sahib]], this ''raga'' is a mixture of two others: [[Bilaval]] and [[Sorath raga|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. It is also not mentioned in the ''[[Ragmala]]''.<ref name="GGS">{{cite book |last=1 |first=Sukhbir Singh Kapoor & Mohinder Kaur Kapoor. Vol. |title=Guru Granth Sahib: an advance study |year=2002 |publisher=Hemkunt Press |location=New Delhi |isbn=978-81-7010-317-2}}</ref> According to the [[Guru Granth Sahib]], raga Jaijaivanti (ਜੈਜਾਵੰਤੀ) expresses the feeling of happiness and satisfaction of achievement, however, it simultaneously conveys 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 your duty first, no matter what your inner feelings may be. The duality of the emotions of joy and sorrow helps to keep you stable and prevents you from reveling in your achievement. Raga [[Jaijaiwanti]] bears the closest resemblance to [[Gara(raga)|Gara]].

It is considered to be a "Paramel Praveshak Raga", i.e. a ''raga'' that has the characteristics of a particular m''ela'' or ''thaat''  and which has additional notes that enable it to be categorized 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 has the characteristics of both the Khamaj and Kafi ''thaat'' and hence called "Paramel Praveshak Raga". In the beginning, Creon is very diplomatic and charismatic. He acts as a people's King and acts like he has a solid head on his shoulders by saying that a good King should take advice and put his country before his friends. In the latter half of the scene, Creon is angry and impulsive, he is closed off and blinded by rage after finding that someone has directly gone against his orders. He does not take the advice of the chorus, rather he uses their opinions as a springboard to get extremely irritable, and additionally, he never listens to what the guard is saying.

=== Albums:Tamil ===

| [[Sandham- Symphony Meets Classical Tamil]]

 

"Dil Ka Diya Jalaya" (Film: Koel (1959), Singer: Noor Jahan (Late), Composer: Khawaja Khursheed Anwar)

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)

 

"Man Mohana Bare Jhoote" (Film: Seema (1955), Music: Shankar-Jaikishan, Singer: Lata Mangeshkar)

 

"Sooni Sooni Saaz Ki Sitaron Par" (Film: Laal Pathhar (1971), Music: Shankar-Jaikishan, Singer: Asha Bhonsle)

 

"Dil Deta Hai Ro Ro Duhai" (Film: Phir Teri Kahaani Yaad Aayi (1993), Music: Anu Malik, Singer: Alka Yagnik)

 

"Main Radha Tu Sham" (Film: Viswaroopam(2012), Music: Shankar-Ehsaan-Loy, Singer: Shankar Mahadevan & Kamal Hassan)

 

"Baapu Sehat Ke Liye" (Film: Dangal (2016), Music: Pritam)

"Raghupati Raghav Raja Raam" (RAMAYAN CHAUPAAYI)

"Oruneram Enkilum" (Singers: Yesudas, Chitra)