S-R-gG-m-P-D-nN-S

---

A much-beloved but highly intricate raga, featuring both variants of Ga and Ni. Dhrupadyas hold NSDNR as the essential pakad (with some bemoaning the loss of the “slow glide from Ga to Re…as Jaijaiwanti’s distinguishing feature”) – while modern performers tend to ‘enclose’ the komal ga in the avroh phrase RgR, preferring the shuddha in most other scenarios. Uttarang movements may take after Sorath (mPNS) or Bageshri (mDnS), with the Pa–Re sangati being highlighted via long slides, amidst other features drawn from Chaya and beyond. Described by Debasmita Bhattacharya as offering “strongly ambiguous elements” (she told me that she chose it for a Darbar concert in London, “to see how complex ragas would communicate to a complex audience…I’m happy it was raining, as Jaijaiwanti has some feelings of water in it…”). Popular in filmi, Gurbani, and beyond – and recently adapted into Carnatic music as ‘Dwijavanthi’.

---

• Raga Megalist (365+) •

राग जयजयवन्ती

Search | Glossary | Tags

• Hindustani Raga Index •

Aroha: NSRGmGR, mPNS

Avroh: SnDP, mgRgRS

---

Chalan: e.g. NS(N)DnR; RG(R)GmPmGR; RgRSRNS; Dn(G)RGmP; DmPNS; (N)R(S)nDP; (P)DmGR; gRNS; RnDPR (Bor/Dasgupta)

—Bismillah Khan (1968)—

---

[theme, e.g. 25:02] G\R, RG(R)mG, Pm G(mG)R, S(R) Rg R\S, S N S, SD/n, S, G\R, RG(R)mG…

---

• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

---

Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

---

Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Jaijaiwanti Nat, Gara, Zila Kafi, Hanskinkini, Jayant Malhar, Ramdasi Malhar, Rageshri Bahar, Tilang Bahar, Nagadhwani Kanada, Patdeepaki

–Swara Geometries–

---

• Core form: S–R–gG–m–P–D–nN–S

• Reverse: SrRgmPdDnS (=Amiri Todi)

• Negative: 5-5-2

• Imperfect: 1 (Ni)

• Detached: none

• Symmetries: mirror (r—P)

• Murchanas: Jaijaiwanti set

---

• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

---

–Global Translations–

---

• Carnatic: Dwijavanthi

S-R₂-G₂-G₃-M₁-P-D₂-N₂-N₃-S

• Jazz: Dorian-Ionian

1-2-b3-3-4-5-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-2-3-4-5-7-9-10-11-0

(2–1–1–1–2–2–1–1–1)

---

o • o o o o • o • o o o o

---

• Tanpura: Sa–Pa (+Re)

• Names: Jaijaiwanti, Jaijaiawanti, Jaijaiavanti, Jaijavani (historic)

• Transliterations: Hindi (जयजयवन्ती); Bengali (জয়জয়ন্তী); Urdu (جے جے ونتی); Punjabi (ਜੈਜਾਵੰਤੀ); Kannada (ಜೈಜೈವಂತಿ)

—Kishori Amonkar (~1980s)—