Raag Jaijaivantiजयजयवंती
Sourced · not yet reviewed by a musician
Khamaj thaat · Sampurna-Sampurna · Night
- Early night
- Night
- Midnight
Swaras and phrases
Tap a lit note to hear it · Synthesized for study — not a recording
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa .Dha .ni Re Re ga Re Sa Ga Ma Pa Ma Ga Re Re Ma Pa Ni Sa'
Source: Artium Academy
- Artium Academy, Raag Jaijaivanti page, aroha
- 5 versions in 5 sources
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' ni Dha Pa Ma Ga Re ga Re Sa .Ni Sa .Dha .ni Re Sa
Source: Artium Academy
- Artium Academy, Raag Jaijaivanti page, avaroha
- 5 versions in 5 sources
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- Re Ni Sa Dha ni / Re; Dha ni Pa / Re; Ma Ga \ Re; Dha \ Ga Ma; Re ga Re Sa
Source: AUTRIM
- AUTRIM, Jaijaivanti page, characteristic phrases
- 6 versions in 5 sources
About Jaijaivanti
Jaijaivanti has two interpretations, one close to Desh and Sorath and one close to Bageshri, which approach high Sa differently. Both use two forms of Ga and two forms of Ni. Re and Pa are important, and the rising glide from Pa to Re stands out.
Source: AUTRIM +2
Also called Jayjayvanti, Jayjaywanti.
Source: SPMVV +1
- SPMVV, §5.4, Khamaj Thaat; printed p.41
- Divya Music, raag notes, Profile heading
Curriculum: Pracheen Kala Kendra's vocal syllabus prescribes it at Bhushan Final (as Jayjaywanti
).
Source: PKK
- PKK, printed p.7, list of prescribed raags
How it moves
AUTRIM says the Desh/Sorath form reaches high Sa as Ma Pa Ni Sa', and the Bageshri form as Ga Ma Dha ni Sa'.
Source: AUTRIM
- AUTRIM, Jaijaivanti page, opening description
AUTRIM says komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga comes as Re ga Re Sa, and komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni is joined to Dha, as in Dha ni / Re or Sa' Ni Dha ni Dha Pa.
Source: AUTRIM
- AUTRIM, Jaijaivanti page, description
Learner focus
Sing the glide from Pa up to Re in the rising direction. Do not reverse it.
Source: AUTRIM
- AUTRIM, Jaijaivanti page, description
Caution
Too much komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga can make it sound like Gara. KomalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga usually sits between two Re notes.
Source: AUTRIM
- AUTRIM, Jaijaivanti page, description
Study prompts
Short exercises that restate what the cited sources say.
- Sing Dha ni Pa and glide up to Re.
- Sing Re ga Re Sa, placing komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga between two Re notes.
- Approach high Sa as Ma Pa Ni Sa' (the Desh form), then as Ga Ma Dha ni Sa' (the Bageshri form).
Based on: AUTRIM +2
- AUTRIM, Jaijaivanti page, characteristic phrases
- AUTRIM, Jaijaivanti page, description
- Artium Academy, Raag Jaijaivanti page, aroha
Variants
- Desh/Sorath ang approaches high Sa via Ma Pa Ni Sa; Bageshri ang via Ga Ma Dha ni Sa. AUTRIM’s recording illustrates the Desh form.
Source: AUTRIM
- AUTRIM, Jaijaivanti page, opening description
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- Thaat4 of 5 sources agree
- Jati3 of 6 sources agree
- Time4 of 7 sources agree
- Aroha5 versions in 5 sources
- Avaroha5 versions in 5 sources
- Pakad6 versions in 5 sources
- VadiAll 4 sources agree
- SamvadiAll 4 sources agree
Sources differ
Notes where the cited sources describe the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary differently. Field-by-field versions and their sources are under How the sources vote.
- Mood. The sources state this differently. The value at the top of the page follows the source cited beside it.
- ITC Sangeet Research Academy, Samay Raga page, Jaijaivanti, ‘About this raga’
- Shringara rasa
- Divya Music, raag notes, Jaijaivanti profile, Nature of Rag
- deep
Similar raags named by the sources
- Gara: Too much komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga can bring Jaijaivanti close to Gara.
Source: AUTRIM
- AUTRIM, Jaijaivanti page, description
- Shuddh Kalyan: Reversing the Pa-to-Re glide can suggest it.
Source: AUTRIM
- AUTRIM, Jaijaivanti page, description
- Chhayanat: Reversing the Pa-to-Re glide can suggest it.
Source: AUTRIM
- AUTRIM, Jaijaivanti page, description
- Desh: Shared turns; komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga and Pa / Re preserve Jaijaivanti.
Source: AUTRIM
- AUTRIM, Jaijaivanti page, description
Film songs
Film songs where a checked source names Jaijaivanti. Each song shows whether a musician has reviewed it yet.
Archive recordings
No archive recordings are linked to this profile yet. Browse all archive recordings.
Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
Jaijaivanti for a few listeners
Jody Stecher recalls hearing Zia Mohiuddin Dagar play brief passages of Jaijaivanti for friends and selected rasikas. In his memoir, Stecher says Dagar seemed to keep this raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary out of public performances.
As told by Jody Stecher, undated memoir published with Raga Records Raga-222 · Source: Jody Stecher memoir: repertoire paragraph after the discussion of Dagar as a singer; Jaijaiwanti and Desi recollection
Sources for this profile
ThaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary, time, vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, arohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary, avarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary and pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary show the version the most independent publishers print; the sources page lists every version and who prints it. Other facts follow the source cited beside them. No musician has reviewed this profile yet.
- Jaijaivanti: raag profileMusic in Motion: AUTRIM (NCPA and University of Amsterdam) · cited as AUTRIMRaag profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
- MAMUD4.1 Research and Contemporary Music, Musicologists, §5.4 THAAT SYSTEMSri Padmavati Mahila Visvavidyalayam · cited as SPMVVUniversity course material listing raags under each thaat (printed pp.41–42). All rights reserved: cited by locator and paraphrased, never reproduced. Accessed 7 October 2026.
- Music and Dance Knowledge / Information: Hindustani raag profilesDivya Music · cited as Divya MusicMusic school's raag notes. No open licence: cited and paraphrased only. Accessed 7 October 2026.
- Jaijaiwanti - DarbarDarbar Arts Culture Heritage Trust · cited as DarbarRobots permits public raga pages; /tos reviewed (C-DARBAR-robots.txt, C-DARBAR-terms.txt). Copyright retained. Factual field transcriptions and cited paraphrases only; complete page evidence is local audit material, not for publication. Accessed 17 October 2026.
- Jaijaiwanti Raag Bandish 8 16 Matras Allap Taan Music Notes In EnglishOnline Sangeet · cited as Online SangeetRobots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
- Raag Jaijaiwanti — Aaroh, Avaroh, Pakar & Samay | RiyazRiyaz / myriyaz.com · cited as RiyazRobots explicitly allows all crawlers (C-RIYAZ-robots.txt). Only public static glossary pages read, without account creation or the gated deep-dive feature. Public pages/home have no terms link; no open licence assumed. Factual transcriptions only. Several entries have internal inconsistencies, preserved in notes; this is a public-web vote, not a reliability endorsement. Accessed 17 October 2026.
- Samay Raga – The Time Theory of RagasITC Sangeet Research Academy · cited as ITC Sangeet Research AcademyPublic academy teaching page. robots.txt returned 404; no terms/automation restriction linked from the inspected home/page. Copyright retained: time facts are cited, prose paraphrased; fetched text is local evidence. This source is added only to raags for which it was not already used. Accessed 17 October 2026.
- Raag JaijaivantiArtium Academy · cited as Artium AcademyA private music academy's raag page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
- Jaijaiwanti | SRgGmPDnNS | Hindustani Raga Index | 365+ RagasGeorge Howlett / Raga Junglism · cited as Raga JunglismRobots checked: public /ragas/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
- Vocal Music syllabus: Prarambhik to BhushanPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.