Jaijaivanti: Difference between revisions

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'''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]].
'''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 nor 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 [[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 [[Gara(raga)|Gara]].


== Composition ==
== Composition ==
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Re ga komal re sa (mandra saptak) ni (shuddha) sa dha ni re
Re ga komal re sa (mandra saptak) ni (shuddha) sa dha ni re


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.
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.
=== Possible notes ===
=== Possible notes ===
::Ni Sa Dha Ni (komal) Re, Re Ga (komal) Re Sa.
::Ni Sa Dha Ni (komal) Re, Re Ga (komal) Re Sa.
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== Film songs ==
== Film songs ==
{{Copy edit|section|for=individual song titles. These should not be in italics but should be enclosed in quotes per [[WP:MOSMUSIC]]|date=June 2021}}
=== Tamil ===
=== Tamil ===
{| class="wikitable"
{| class="wikitable"
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| [[Shankar-Ehsaan-Loy]]
| [[Shankar-Ehsaan-Loy]]
| [[Shankar Mahadevan]], [[Kamal Haasan]]
| [[Shankar Mahadevan]], [[Kamal Haasan]]
|-
|"Mukundha Mukundha"
|[[Dasavathaaram]]
|[[Himesh Reshammiya]]
|[[Sadhana Sargam]]
|}
|}


=== Albums:Tamil ===
== Albums:Tamil ==
{| class="wikitable"
{| class="wikitable"
! Song
! Song
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|-
|-
| "Yayum Nyayum Yarakiyaro"
| "Yayum Nyayum Yarakiyaro"
| [[Sandham- Symphony Meets Classical Tamil]]
| [[Sandham- Symphony Meets Classical Tamil|''Sandham- Symphony Meets Classical Tamil'']]
| [[Rajan Somasundaram]]
| [[Rajan Somasundaram]]
| [[Karthik (singer)|Karthik]], [[Pragathi Guruprasad]]
| [[Karthik (singer)|Karthik]], [[Pragathi Guruprasad]]
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=== Urdu ===
=== Urdu ===
Sung in [[Urdu]]:
{| class="wikitable"
 
! Song
"Dil Ka Diya Jalaya" (Film: Koel (1959), Singer: Noor Jahan (Late), Composer: Khawaja Khursheed Anwar)
! Movie
! Composer
! Singer
|-
| "Dil Ka Diya Jalaya"  
| ''Koel''
| Khawaja Khursheed Anwar
| Noor Jahan (Late)
|}


Ghazal: "Ghuncha-e-Shoq, Laga Hai Khilnay" (Singer: Ustad Mehdi Hasan, Notes: Re ga (komal) Re Sa Ma)
* 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)
* Ghazal: "Dost Ban Kar Bhi Nahin" (Singer: Ustad Ghulam Ali)


=== Hindi ===
=== Hindi ===
Sung in [[Hindi]]:
{| class="wikitable"
 
! Song
"Man Mohana Bare Jhoote" (Film: Seema (1955), Music: Shankar-Jaikishan, Singer: Lata Mangeshkar)
! Movie
 
! Composer
"Sooni Sooni Saaz Ki Sitaron Par" (Film: Laal Pathhar (1971), Music: Shankar-Jaikishan, Singer: Asha Bhonsle)
! Singer
 
|-
"Dil Deta Hai Ro Ro Duhai" (Film: Phir Teri Kahaani Yaad Aayi (1993), Music: Anu Malik, Singer: Alka Yagnik)
| "Man Mohana Bare Jhoote"
 
| ''Seema''
"Main Radha Tu Sham" (Film: Viswaroopam(2012), Music: Shankar-Ehsaan-Loy, Singer: Shankar Mahadevan & Kamal Hassan)
| Shankar-Jaikishan
 
| Lata Mangeshkar
"Baapu Sehat Ke Liye" (Film: Dangal (2016), Music: Pritam)
|-
|"Sooni Sooni Saaz Ki Sitaron Par"
|''Laal Pathhar''
|Shankar-Jaikishan
|Asha Bhonsle
|-
|"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
|
|-
|
|
|
|
|}


"Raghupati Raghav Raja Raam" (RAMAYAN CHAUPAAYI)
* "Raghupati Raghav Raja Raam" (RAMAYAN CHAUPAAYI)


=== Malayalam ===
=== Malayalam ===
Sung in [[Malayalam literature|Malayalam]]:


"Oruneram Enkilum" (Singers: Yesudas, Chitra)
* "Oruneram Enkilum" (Singers: Yesudas, Chitra)


== Performance ==
== Performance ==

Latest revision as of 00:24, 23 July 2021


Jaijaivanti
Thaat
Time of day6 pm to 9 pm
ArohanaRe ga (komal) re sa, re ga (shuddha), ma pa dha pa, ni sa
AvarohanaSa ni (komal) dha pa, dha ma ga re, re ga (komal) re sa
Pakadre ga komal re sa,(mandra saptak) ni shuddha sa dha ni re
VadiRe (poorvanga vadi)
SamavadiPa
SynonymPiloo, Gara
EquivalentDwijavanthi

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 Gara.

Composition[edit]

Aarohana[edit]

Re ga (komal) re sa, re ga (shuddha), ma pa dha pa, ni sa.

Avaroha[edit]

Sa ni (komal) dha pa, dha ma ga re, re ga (komal) re sa.

Pakad[edit]

Re ga komal re sa (mandra saptak) ni (shuddha) sa dha ni re

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[edit]

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.

Popular songs[edit]

It is also known as Dwijavanthi in the Carnatic tradition and in the Yakshagana theatre tradition.

Film songs[edit]

Tamil[edit]

Song Movie Composer Singer
"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
"Unnai Kaanadhu Naan" Vishwaroopam Shankar-Ehsaan-Loy Shankar Mahadevan, Kamal Haasan
"Mukundha Mukundha" Dasavathaaram Himesh Reshammiya Sadhana Sargam

Albums:Tamil[edit]

Song Album Composer Singer
"Yayum Nyayum Yarakiyaro" Sandham- Symphony Meets Classical Tamil Rajan Somasundaram Karthik, Pragathi Guruprasad

Urdu[edit]

Song Movie Composer Singer
"Dil Ka Diya Jalaya" Koel Khawaja Khursheed Anwar Noor Jahan (Late)
  • 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)

Hindi[edit]

Song Movie Composer Singer
"Man Mohana Bare Jhoote" Seema Shankar-Jaikishan Lata Mangeshkar
"Sooni Sooni Saaz Ki Sitaron Par" Laal Pathhar Shankar-Jaikishan Asha Bhonsle
"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
  • "Raghupati Raghav Raja Raam" (RAMAYAN CHAUPAAYI)

Malayalam[edit]

  • "Oruneram Enkilum" (Singers: Yesudas, Chitra)

Performance[edit]

"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[edit]

  1. ↑ Mackenzie, Sir Compton; Stone, Christopher. The Gramophone. Vol. 77, Issues 915-918. p. 100.
  2. ↑ 1, Sukhbir Singh Kapoor & Mohinder Kaur Kapoor. Vol. (2002). Guru Granth Sahib: an advance study. New Delhi: Hemkunt Press. ISBN 978-81-7010-317-2.{{cite book}}: CS1 maint: numeric names: authors list (link)
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