The Automated Transcription for Indian Music (AUTRIM) Project by NCPA and UvA


Jaunpuri is a popular rag. Some musicians refer to this rag as Asavari with natural (shuddh) Re, while others consider Asavari and Jaunpuri as distinct rag-s on the basis of usage of flat Ni in the ascent.

Tone materialS R g m P d n

While Ga is omitted in the ascent, it is used in the descent, which could be oblique like S (or R) n d P, m P d m P \g~ R S or straight forward like S n d P m g R S, especially in the fast speed.
Ga and Dha are important notes and Pa is a resting note. Ga and Dha are oscillated. While Dha is included in the direct ascent, it could also be avoided in typical phrases such as R m P /n d P. Similarly Ni could be missed with m P d ~/S, while both Dha and Ni could be left out in a characteristic phrase – m P /S\ d~ P.

Some characteristic phrases:

R \n d~ P
d m P /n d\ P
P \g~ R S
m P /S\ d~ P

Rag Darbari kanada (vide) has the same tone material as Jaunpuri but the melodic patterns are so very different that they never create the same impression with the listener.  Although Ga and Dha are oscillated in both these rag-s, the extent and context of oscillation is quite different. Also, unlike Darbari, most movements in Jaunpuri are in the upper half of the middle octave.

Musicians who claim this rag as distinct from Asavari, altogether avoid Ni in the ascent, making it a pentatonic ascent – S R m P d~ S (Bhatkhande [KPM II] 1952: 312}.
Rag Gandhari, which is not popular today, strongly resembles Jaunpuri, except that occasionally it uses a touch of flat Re in the descent descent.

Time: late morning (Bhatkhande [KPM III] 1999: 645)

Further listening:  Kishori Amonkar ECLP 2326
Rajab Ali Khan ECLP 2618
Parrikar on Jaunpuri
Recording by Bade Ghulam Ali Khan

Performance by Uday Bhawalkar

येरी ये मैं कैसे
भरन जावूँ पनिया
मग रोकत होरी के खिलैया

करत रार नित रोकत
गैल एेसो चंचल छैल कन्हैया

Composition: dhamar
Oh my friend, how can I go to fetch water from the river? Everyday, he who plays hori (Krishna) stands in my path, and plays pranks.

Tal: Dhamar

Being a performance presented in dhrupad style, there is a fairly extensive (five and half min) melodic introduction (alap) in which melody rises from lower to higher octaves in a systematic manner. Note the serene pace of the movements and use of various syllables like ri, na, rum, nom etc
5-32: Performance opens with one of the most typical phrases – R \n d~ where Dha is sustained & oscillated (andol)
46-51: Again, R \n
68: Note a touch of Ma for Re
73: Ma approached with a touch of Pa
110-121: A smooth glide form Ma to Pa, returning to Ma
125: P \g, a typical glide. Note the touch of Ma in between P and Ga and the oscillations on Ga (andol)
141-148: Another beautiful glide, n \D \m. Note the sustained Dha in between
154-162: oscillating lower Dha merging in Sa
174: Movements move towards middle Pa and include Dha as well
196-202: Oscillating Dha leading to Ma
212: Dha is in focus again, this time the movement also includes flat Ni with typical oblique phrase n d m P
225-250: Next couple of phrases approach Dha preceded by the sustained Ni
248: Oscillating Dha (andol), slowly moving towards the high Sa
252: High Sa is emphasised
288: Characteristic phrase – n S R \n \d~ P, followed by variation of this phrase to descend (299-305)
306: m P \g~R, a typical descending phrase. Note the touch of Ma in between Pa & Ga, which is clearly heard
338: First line of the composition. Note a characteristic movement m P /S \d~ (343-349)
382: Next line. Note oscillation on Ga (388-392) and a long glide (soonth) from the lower to high Sa
419-425: Again, n S R \n \d~ P
425-492: The first part of the composition (sthayi) is repeated
492: First line of the second part of the composition (antara) starts off from the first beat beat of the 1 beat rhythmic cycle. Note oscillations (andol) on Dha (500-502)
512: Same line repeated
532: Next line
553: Concluding line

Perfromance by Aslam Khan

Composition: bada khayal

ए पिहरवा जागो रे
अरे मोरे मित पेहेरवा (पिहरवा)
चोरवा लागी ना तोरी घात

सगरी रैन मोहे
जागत बीती
चैतत पिछली रात
Oh my beloved, please wake up. Last night I was wide awake waiting for you.

Tal: Ektal (slow tempo)

20-27: m P d m P \g~ R S, a typical descending phrase with oscillating (andol) Ga (22-24)
36-42: Another characteristic phrase – P /S \d~ P, followed by P /n d~ P
49-57: Sustained Re is followed by a glide n /g R \n d~ P. Note oscillations on Dha
57: Ornamented phrase (murki) including Ma, Pa and flat Ni, followed by Ga, which is oscillated
69-70: Oscillating Dha in the opening phrase of the composition
74-77: Extensive ornamentation (murki), also noticed throughout the performance
79: Accentuated beat (sam) of the 12-beat rhythmic cycle coincides with oscillating Ga
129-165: First part of the composition (sthayi) is repeated with some variations
166-214: Second part of the composition (antara)
218: First part of the composition (sthayi) is repeated with more variations

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