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


Jogkauns is a modern rag attributed to Jagannathbua Purohit of Agra gharana. It is regarded as a combination of two rag-s: Jog (vide) and Malkauns (vide).

Tone material:  S g G m P d n N

Re is omitted and the ascent uses natural Ga, whereas flat Ga is featured in the descent. The flat Ga can be oscillated, as heard from the accompanying recording. While natural Ni is used in both ascending as well as descending passages, use of flat Ni is restricted to a movement – Pdn d P m P m. Ma and Sa are important notes and G m d N S is a typical phrase to reach the high Sa.

Some characteristic phrases:
S G m P G P m
mG – m d P d m P mG
G m Pdn d – P m
nd m P m
P G m mg mg N S

Shades of rag Jog are evident in Jogkauns. However, the presence of flat Dha and natural Ni in the latter, help maintain its character. Also, with the prominent natural Ni, some impressions of rag Chandrakauns are possible. Nevertheless, the presence of natural Ga and Pa in Jogkauns keeps it distinct from Chandrakauns.

Time: late night (Patwardhan [Rag vidnyan VI] 1964:126)

Further listening:
Parrikar on Jogkauns
Recording by Manik Verma
Recording by Nikhil Banerjee

Performance by Veena Sahasrabuddhe

Composition: chhota khayal

पीर परायी
जाने ना दूँ बालमवा

प्राणपिया तुम एेसे निठुर भये
दास गुनी की अास गवायी

This composition is penned by Jagannathbua Purohit alias ‘Gunidas’, also the creator of this rag.
I will not let you go away as the pain of separation is unbearable. Oh my love, why do you become so heartless, and make me feel miserable and desperate.

Tal: Tintal (medium-fast tempo)

4-10: Performance opens with a phrase in which the flat Ga is approached from Ma, sustained with oscillations and returns to Sa. Note the Ga spread between the flat and natural positions
28-31: Lower Dha is held. Note a touch of Pa in between
63-72: A phrase similar to Chandrakauns – N d N Sg \S
78- 85: Natural Ga is approached from Sa and sustained
87-94: Natural Ga is sustained again. Note the end of the movement – a descending glide from the natural Ga to Sa via a slight touch of flat Ga
95-102: Both Ga-s in succession
134-138: Ma is approached and sustained
145: Ma is reached again, this time via Pa with a typical movement – m P m
152: Flat Dha is introduced and the phrase returns to Ga with m P mG
161: A characteristic phrase – mG – m d P d m P mG
171-179: Return to Sa with a descending glide from the natural Ga to Sa via flat Ga
196: Middle Dha is sustained with oscillations. Note a touch of Ni above for the Dha and the concluding phrase – m P m
204-211: Oscillations on the Middle Dha continue. Note the touch of higher notes for Dha
216-221: Characteristic phrase with flat Ni – Pdn d – P m
253: Composition begins. Note the accentuated beat (sam) of the 16-best rhythmic cycle coinciding with Ma, emphasising the same
276: Second line
321: Improvisation in the middle octave
378: Notes in the high octave are introduced
395: Second section of the composition (antara). First line is presented followed by some improvisations
443: Following line
457: Concluding line including the name of the composer

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