RageshreeSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
Hindustani raga
Jogeshwari
Raga created by Pt. Ravi Shankar, close to Rageshree.
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- Thaat
- Khamaj
- Jati
- Audava–Shadava
- Notes
- 6 of 12
- Movement
- Krama (straight)
- Time
- Night
- Rasa
- Shringar
Your guide to Jogeshwari
New to classical music — moods, stories, film songs and simple listening.
Start listening
Press play to hear the notes of Jogeshwari, rising then falling.
Its mood
Shringar. Traditionally heard at night.
Film songs you may know ↓New to classical music?
Jogeshwari, explained simply
Think of a raga as more than a scale: a set of rules and a personality. Jogeshwari has its own notes, its own favourite phrases, its own time of day and its own mood, the way a person has a recognisable voice and way of talking.
How it feels
Jogeshwari sounds mostly bright, with a few shadowed notes that add a bittersweet tint. Its emotional colour is love and beauty, sometimes the sweet ache of missing someone. Traditionally it is traditionally performed in the night, because Indian musicians believe each raga matches the feeling of a certain hour or season.
How to recognise it
- Listen for the gaps. Jogeshwari never uses Pa, so the melody seems to skip over certain steps. This "missing note" sound is one of the quickest giveaways.
- The melody goes up with 5 notes but comes down with 6, so the climb and the descent sound noticeably different.
- Hum the scale along with the play button above a few times. Once the shape of those notes is in your ear, you'll start spotting it in songs and concerts.
Its beauty
Raga created by Pt. Ravi Shankar, close to Rageshree. The beauty of Jogeshwari comes from patience: a good performer doesn't rush through the scale but lingers, bending into notes and letting each phrase breathe, so the mood builds slowly until it fills the room.
What makes it different
- Rageshree uses the very same notes. Ragas aren't just scales: the difference lies in which notes are stressed, which phrases are used and how the melody moves. That's why two ragas built from the same notes can feel completely different.
- Across the North–South divide, Chandrahasitham (Carnatic) and Ravi Chandrika (Carnatic) uses the same notes. Listening to both side by side shows how the two traditions shape the same material differently.
- In Hindustani music, a raga usually unfolds slowly. The performance often begins with a long, beat-less exploration (alaap) where the musician reveals the raga one note at a time.
Listening exercise: Try this: press "Full scale" above, then open one of the recordings below. In the first few minutes, see if you can hear the missing Pa. Once you catch it, you've started to recognise Jogeshwari.
History & evolution
Hindustani ragas mostly developed through oral tradition, passed guru to disciple. Medieval treatises such as Sangita Ratnakara (13th c.) and the later Raga-Ragini systems grouped them into 'families'.
In the early 20th century, V. N. Bhatkhande organised Hindustani ragas into ten thaats (parent scales). Jogeshwari is classified under Khamaj thaat. The thaat is a modern classification, not necessarily the raga's historical origin.
Each gharana (school) interprets ragas slightly differently, so a raga's phrasing has kept evolving through the 19th and 20th centuries, and further through recordings and radio.
Looking for more history…
Scale
Arohana (ascent) · 5 notes
S G M D n S'
- Devanagari
- सा ग म ध नि̱ सा•
- Bengali
- সা গা মা ধা নি̱ সা•
Avarohana (descent) · 6 notes
S' n D M G R S
- Devanagari
- सा• नि̱ ध म ग रे सा
- Bengali
- সা• নি̱ ধা মা গা রে সা
Synthesised with Sa = A3. A real performance uses gamakas, meends and phrasing that a bare scale can't capture.
Notes on the octave
S
C
r
C#
R
D
g
D#
G
E
M
F
M#
F#
P
G
d
G#
D
A
n
A#
N
B
| Swara | Interval from Sa | Western (Sa = C) |
|---|---|---|
| Sa | Unison | C |
| Shuddh Re | Major 2nd | D |
| Shuddh Ga | Major 3rd | E |
| Shuddh Ma | Perfect 4th | F |
| Shuddh Dha | Major 6th | A |
| Komal Ni | Minor 7th | A# |
Omitted (varjya) swaras: Pa.
Character
Jati (Audava–Shadava). The ascent uses 5 distinct notes and the descent 6. Audava = 5, Shadava = 6, Sampurna = 7.
Krama (straight) movement. Notes are taken in order going up and coming down.
Parent scale. Khamaj thaat: Komal Ni, all others shuddh. Equivalent to the Mixolydian mode and Carnatic Harikambhoji.
Time (Night). Sung during the night prahars (roughly 9 PM–3 AM). Night ragas often stress the upper tetrachord (uttaranga).
Shringar
Romance and beauty, including love in union (sambhoga) and longing in separation (viraha).
Listen
Each link opens a YouTube or Spotify search for this raga by the instrument or artist.
Vocal
Flute (Bansuri)
Sitar
Sarod
Same notes in Carnatic music
These ragas use exactly the same notes, though their phrasing and ornaments differ.
Ragas with the same notes
Same notes, but a different character because of emphasis, movement and phrasing.
Why this time of day?
Jogeshwari is traditionally sung: Night.
- Hindustani music follows the samay chakra, a 'clock of ragas'. Musicians noticed over centuries that certain combinations of notes match the feeling of certain hours, and teachers passed these timings on as a rule.
- Its timing (Night) comes mostly from tradition: generations of musicians have sung it at this hour, and listeners have come to feel its mood there.
- These are traditions, not physics. Today, recordings and concert schedules mean ragas are often heard at other times, but many musicians still honour the samay chakra.
Close ragas & how they differ
Ragas that sound most like Jogeshwari, and how to tell them apart.
NandkaunsOne note apart
- Jogeshwari uses Shuddh Re, which Nandkauns does not.
- Jogeshwari uses a different number of notes going up than coming down; the other is more symmetrical.
- They belong to different times: Jogeshwari is sung in the night, Nandkauns in the late night.
Gorakh KalyanOne note apart
- Jogeshwari uses Shuddh Ga, which Gorakh Kalyan does not.
- Jogeshwari uses a different number of notes going up than coming down; the other is more symmetrical.
- Mood: Jogeshwari leans shringar, Gorakh Kalyan leans karuna.
ChampakaliOne note apart
- Champakali uses Pa, which Jogeshwari avoids.
KhambavatiOne note apart
- Khambavati uses Pa, which Jogeshwari avoids.
JhinjhotiOne note apart
- Jhinjhoti uses Pa, which Jogeshwari avoids.
Other ragas from Khamaj
Desh · HindustaniKhamaj · HindustaniSorath · HindustaniKalashri · HindustaniKhambavati · HindustaniChampakali · HindustaniJansammohini · HindustaniMegh Ranjani · HindustaniBihari · HindustaniDesh Malhar · HindustaniBihagda · HindustaniTilak Kamod · HindustaniJhinjhoti · HindustaniTilang · HindustaniRageshree · HindustaniGorakh Kalyan · HindustaniKalavati · HindustaniJaijaivanti · HindustaniGara · HindustaniJog · HindustaniMalgunji · HindustaniNandkauns · Hindustani
Film songs in this raga
Bollywood (Hindi)
No well-known Hindi film song is confidently attributed to this raga yet.
Other Indian films (Tamil, Telugu, Malayalam, Kannada, Bengali, Marathi)
No regional film song is confidently attributed to this raga yet.
Top Bollywood songTop Tamil songTop Telugu songTop Malayalam songTop Kannada songTop Bengali songTop Marathi song
Film songs often take liberties with a raga, so treat these as "based on" rather than strict renditions.
Discussion
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Notation: Hindustani komal notes are lowercase (r g d n), M# = tivra Ma, ' = upper octave. Carnatic numbers mark swara variants (R1, G3, …).