Sitar Samrat Nikhil Banerjee: Raga Jogkauns: Tabla Jnan Prakash Ghosh: Live Perfromance 1975

Raag Description: This is a relatively new Raag created by Pt. Jagannath Bua Purohit 'Gunidas'. This Raag is a combination of Raag Jog and Raag Chandrakauns.

The Poorvang of this Raag shows a Jog like character like S G m P m ; G m G g S or G m g S, Uttarang displays Raag Chandrakauns like: m d N S' ; S' g' S' ; N d then a special feature of this Raag P d n d P m is added. Shuddha Nishad is used both in Aaroh and Avroh while the Komal Nishad is only used in Avroh in the phrases like - P d n d P m or d n d p m or n d p m, these are the signature notes of this Raag and enhances its beauty. One may note that, Pancham is used in Aaroh only in these special feature (P d n d P m.)

The note Madhyam is very strong. This Raag can be rendered freely in all the three Octaves. Following combinations are illustrative of the Raag Jogkauns:

S G m (S)g S ; S G m P m ; G m N d ; d N S' ; S' g' S' N d ; P d n d P m ; m P m G m g S ; m d N S' ; g' S' N d ; d n d p m ; G m P m G m (S)g S ;

The aroha-awroha of raag Jogkauns are

Aaroh : सा ग म ध् नी सां ।
Awaroh : सां नी ध् मप म, प ध् नी् ध् प म, ग म ग् सा।

Chalan : सानीं sध्s, नींsसाsग्s सा , सा ग ग म, मग् सानींs सा ग म, ग म ध् s मपs म, प ध् नी् ध प s म, गमध् नी, सा’ नी ध् पम s ध् नी् ध् पम ग म ग् सा।

( some clarification about notation : here नीं is mandra निषाद and सा’ is tar षड्ज )

Waadi Swar : म
Samwaadi Swar : सा

Time : midnight
Thaat: Bhairavi

Raga Jog is in purvang and Raga Chandrakauns in uttarang. Komal nishad is also taken in specific swar-sangati प ध् नी् ध् प म or ध् नी् ध् प म. Komal nishad can be taken in this particular way only.



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The raga was conceived in the late 1940s by Jagannathbuwa Purohit “Gunidas”. It made a splash on the concert platform in 1951 when Kumar Gandharva signed on as an active protagonist. Gunidas originally referred to his inspiration as simply ‘Kaunshi’ but a subsequent discussion with B.R. Deodhar lead him to re-baptize it “Jogkauns” given its harmonious blend of Jog with the Kauns-anga.

Gunidas’s key insight was to base his melody in Malkauns but with a twist – he advanced shuddha nishad and assigned a cameo to komal nishad. Modern rasikas will say that the melody is based in Chandrakauns but recall that in those days what we now refer to as Chandrakauns was a novelty.

Jogkauns is a masterpiece of musical thought, all the pieces conforming to one another and to an organic whole. Gunidas has been justly credited with fathering one of the greatest melodies of the 20th century.

The core of Jogkauns may be encapsulated in the following prayogas:


Notice the powerful role of madhyam. Komal nishad comes along occasionally, bringing a frisson of delight, in a phrase of the type: P d n d P^M. Shuddha rishab is alpa and may appear as a grace swara as in S G R^G M.

This is a live 1975 recording of Nikhil Banerjee in California in1975.