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Bani Mahala 9 - Rag Jaijavanti

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Out of the thirty-one principal rags
Bani Footnote A rag is a melodic framework for improvisation and composition in Hindustani music akin to a melodic mode in western music. It consists of a specific set of notes and their combination used in a particular order to produce a melody. A rag also provides a framework of rules with the help of which a musician can improvise to produce different melodies by infinitely reordering a given set of notes specifically prescribed for that particular rag. Every rag has an array of melodic structures with musical motifs that is capable of evoking distinct emotions. [https://www.britannica.com/art/raga]
in the Guru Granth Sahib, Rag Jaijavanti (a musical mode) has been designated thirty-first place in the sequence. This is the last rag of the Guru Granth Sahib. Under this rag only Guru Teghbahadar Sahib has revealed Bani; there are four Sabads by him, which are recorded on pages 1352 and 1353 of the Guru Granth Sahib.
Bani Footnote Bhai Joginder Singh Talwara, Bani Biura, part one, page 97.


Rag Jaijavanti is an old rag. It is a very melodious, effective, and attractive rag of the night. The feeling of deepness and compassion is prominent in this rag. In Hindustani music, this rag is known as Jaijaivanti.
Bani Footnote Dr. Gurnam Singh, Sri Guru Granth Sahib Rag Ratanakar, page 214.
Apart from this, in the musicology texts, this rag is mentioned as Jijavanti, Jayavanti, Jayanti, and Vaijayanti.
Bani Footnote Prof. Kartar Singh, Gurmat Sangit Darpan, part two, page 453.
In the early 14th century, this rag was also known as ‘Javanta.’
Bani Footnote The Encyclopedia Of Sikhism, part 2, page 177-178.


Bhai Vir Singh considers Jaijavanti a kind of ragini,
Bani Footnote A derivative melody acquired by the modification of a rag (musical mode) in the Indian classical music. Its form is closely related to and associated with the rag it has been derived from. In Indian mythology it is personified as the wife of that particular rag.
which does not belong to the category of rags. It is created from the combination of Kanra and Sorath.
Bani Footnote Prof. Kartar Singh, Gurmat Sangit Darpan, part two, page 455.
Bhai Kahn Singh Nabha has also, having considered it a ragini, written that this is a ragini of sampuran class (jati) of Khamaj that,
Bani Footnote A ‘that’ is a group of notes. Its primary function is to provide a basis for the creation, organization and classification of rags in the Hindustani music.
which is created from the combination of Dhulshri Bilaval and Sorath. In this, both Ga and both Ni are used.
Bani Footnote Bhai Kahn Singh Nabha, Mahan Kosh, page 533.


Rag Jaijavanti is sung via two angs (styles): Des ang or Sorath ang and Bageshvari ang.
Bani Footnote Dr. Kanwaljit Singh, Sikh Sacred Music, page 206.
In Rag Jaijavanti of Des or Sorath ang, the combination of ‘Ma, Pa, Ni’ is used while touching note Sa (tar saptak - upper octave), whereas in Rag Jaijavanti of Bageshvari ang, Pa is forbidden and ‘Ma, Dha’ combination is used, while doing the same.

Prof. Tara Singh has introduced both angs of Rag Jaijavanti, which are mentioned above, but its notation is given only in Des ang.
Bani Footnote Prof. Tara Singh, Sri Guru Granth Sahib Rag Ratanavali, page 357.
S. Gian Singh Abbottabad, Bhai Avtar Singh, and Bhai Gurcharan Singh, Dr. Gurnam Singh etc., have introduced the Des ang of Rag Jaijavanti, and given notations in it. Rag Nirnayak Committee
Bani Footnote Principal Sukhwant Singh (edt.), Guru Nanak Sangit Padhati Granth, part-1, page 98.
has also cited the form of Des ang only, which is as follows:

Description of Rag Jaijavanti
That: Khamaj.
Svar (notes): both Ga, both Ni and rest all notes are normal/natural (shudh).
Varjit Svar (forbidden notes): Dha (in aroh of Des ang) and Pa (in aroh of Bageshvari ang).
Jati (class): sharav-sampuran.
Vadi (prominent note): Re.
Samvadi (sub-prominent note): Pa.
Aroh (ascending scale): Sa Re Ga, Ma Pa, Ni Sa (tar saptak - upper octave).
Avroh (descending scale): Sa (tar saptak - upper octave), Ni (komal - flat) Dha Pa, Dha, Ma, Re Ga (komal - flat), Re Sa.
Mukh Ang/Pakar (Main Part): Re Ga (komal - flat) Re Sa, Ni (komal mandar saptak - flat lower octave) Dha (mandar saptak - lower octave) Pa (mandar saptak - lower octave) Re Sa, Dha (mandar saptak - lower octave) Ni (komal mandar saptak - flat lower octave) Re Sa.

Singing time
The second quarter of the night.