Rag Jaitshri belongs to Purvi (vide) group of rag-s. It is rather uncommon to hear this rag today.
Tone material: S r G M P d N
The ascent begins with lower Ni or Sa and avoids Re, Ma and Dha, whereas the ascent often begins with the high Re and descends down including all the notes. As evident from the accompanying recording, ascending phrase like r G P – could begin with Re although it is omitted in direct ascent. Pa and Sa are important notes while Ga is a strong resting note.
Some characteristic phrases:
S G P-M d P
r N d P
M G- r S
Rag-s Puriya dhanashri (vide) and Shri (vide) have the same tonal material as Jaitshri. However there is a considerable difference in the melodic configuration and emphasis lent to different notes in these rag-s.
There is also some similarity with rag-s like Purvi (vide) and Basant (vide). However, both these rag-s also include natural Ma and hence stand apart.
Time: sunset (Patwardhan [Rag vidnyan VII] 1971: 42)
Recording by Shalmalee Joshi
Performance by Mashkoor Ali Khan
अावत नार कुंजनमें
संग लिये ब्रिजराज
हो हो कर अावत
नेक न अावे लाज
The song-text depicts a beautiful damsel, full of youthful exuberance, She arrives in the garden accompanied by Brijraj (the Lord of Braj/Brij, Krishna), and without any hesitation she embraces him.
Tal: Rupak (medium tempo)
3-17: After announcing Sa, the base note, Ga is sustained
19-28: Movements with emphasis on Pa
29-34: A typical movement – P- M d M G – r S. Note the emphasis on Ga
35-46: Pa continues to be emphasised
48: High Sa is approached. Note the glide P /S
52-55: Typical descending phrase r N d P
61: Note the emphasis on Ga before returning to Sa
70-73: r N d P again, this time to reach the lower Pa
77-79: Middle Pa is emphasised in contrast to the above
84-103: Phrases moving from the middle Re to high Ga and back with r N d P, d M G – r S
106: Composition begins. Note the accentuated beat (sam) of the 7-beat rhythmic cycle coinciding with Ga, an important note to be emphasised in this rag
124: Second line of the composition
156-194: Improvisation using words of the composition (bol alap). Note the emphasis on Pa
197: Second line is repeated
227-263: Second half of the composition (antara)
267-296: The above section is repeated
297: Improvisation using words of the composition (bol alap). Emphasis on Pa continues