Jogiya

This rag is mainly used in thumri and other lighter genres. Hence it is common to find many incidental notes being added to the main melody.

Tone material: S r G m P d N

The ascent is pentatonic without Ga and Ni, whereas the descent includes Ga and Ni, although as short and weak notes. Nevertheless, in the descending line, it is very important to have a touch of Ga for the flat Re and that of Ni for the flat Dha to bring out the proper ethos of the rag. Re and Dha are important notes and could be sustained with oscillations as seen in this recording. But the oscillations are not as extensive as in rag Bhairav (vide). Ma is a resting point, and R /m and d \m are the characteristic glides in Jogiya.

Some characteristic phrases:

S R /m-m P- d~ /S
m- PNdP m \Gr

In the light genres, natural Re and Dha as well as flat Ga and Ni can also be included. Jogiya can also be mixed with rag-s such as Asavari, Mand etc., resulting in combinations such as Jogiya asavari, Jogiya mand and so on.

Jogiya has the same tonal material as rag Bhairav and rag Kalingada. However, as compared to the latter rag-s, Ga and Ni are rather weak in Jogiya. Also, G m \r S, the characteristic movement of Bhairav, is not heard in Jogiya.  Nonetheless, m \Gr remains as a typical descending movement in Jogiya. Rag Gunakri (vide) has the same ascending movement as Jogiya. However, unlike in Gunakri, in Jogiya, the movements are more in the upper middle octave.

Time: morning, but often used for lighter genres and hence any time (Bhatkhande V] 1975: 377)

Further listening:
Ram Narayan 2611 578
Recording by Abdul Karim Khan
Recording by Nikhil Banerjee

Performance by Mashkoor Ali Khan

Composition: thumri

पिया के मिलन की अास
येरी हो दिन दिन जोबनवा
यूँ ही जात

जब से गये मोरी
सुधहू न लिनी रे हो
कैसे जावूँ पिया पास

This composition has been immortalised by Abdul Karim Khan.
It depicts the unbearable agony of separation from the beloved and an intense desire to unite with him.

Tal: Dipchandi (medium tempo)

Performance:
3-6: Performance opens with a descending phrase from Dha to Sa, which includes flat Ga besides the expected notes- Pa, Ma, natural Ga and flat Re. The phrase recurs again at (41-43), however this time without the flat Ga

19-24 & 26-27: Typical descending movement – m \Gr and Re sustained with oscillations (andol)
34-47: Pa is in focus, followed by return with m \r (54-56)
63: Composition with a refrain including a typical ascent culminating in d /S and also a descending glide S \Nd after the accentuated beat (80-83)
80: Second line. Note an inflection with flat Ni (93) and a typical phrase -mPdP m Gr with a weak Ga (94-97)
107-129: The first part of the composition (sthayi) repeated
133-167: Enunciating words of the composition with various melodic elaborations, a technique specific to the genre of thumri called bol banao. In this case the first line –piyaa ke milana ki aasa, is being used
177-200: Second line, yeri ho dina dina jobanavaa yuhi jaata, is used similarly
214: Note repeating of the word piya in various ways and the corresponding melodic phrases, particularly a glide d /r (228-230) and several appealing enunciations using high notes, a technique used for improvising thumri, known as pukar (243-249)
266: Second part of the composition (antara)
310: Concluding line. Note the use of pukar (321-325)
355-359: Note the oscillating Dha and continued use of pukar including the high Ma (369-371)