Raga Jaapaani

[venkatakailasam]

There seems to be is a very rare raga called "japani"...

"There is a raga called Gopriya which is a janya of the 62nd mela Rishabhapriya and it uses a whole tone between the notes of its scale. It is otherwise known as Debussy scale because it was popularized by him. Sometimes it is called Japani because it is also used Koto music of Japan. There are two compositions on my list: Gopika-Rupaka-Bangalore S.Mukund and Na moravina rada-Rupaka-S.Ramanathan. The notes of this raga are: S R2 G3 M2 D1 N2 S; S N2 D1 M2 G3 R2 S "...posted by Lakshmanji...at...

http://forumhub.com/indcmusic/25607.17805.05.33.13.html

I tried an extract from Multi-lingual Invocation (5 languages) uploaded by parampara16 at
http://www.youtube.com/watch?v=dLDQzxO_eQE... by Smt M.S. Subulakshmi...

please Listen at ...

http://www.youtube.com/watch?v=lhTX-kEbG7k

This raga was incorporated into Carnatic music by the late Dr. S.Ramanathan and named "Jaapaani".

Corrections are welcome

[keerthi]

Vkailasam ji,

Thanks for raising this interesting topic. Mehdi Hasan has used this rAga in a lot of his ghazals. As far as I know, Prof. S. Ramanathan used the name gOpriya, and not jApAni. [Do point me to your source, if you have information to the contrary].

This is a very special rAga for a host of reasons - all the notes are evenly spaced - S-R2-G3-M2-D1-N2-S*.

On a veena fretboard, the raga can be played by selecting any point at random, and playing on every alternate fret. the other interesting thing about this rAga is that it is a sva-mUrchanakAraka rAga. GrahabhEda at all of r, g, m, d and n gives us the same rAga.

[venkatakailasam]

keerthiji..

please see the information provided by Lakshmanji provided above..

He is of the view that gopriya is sometimes called japaani...

Same is provided by parampara16 also in his comments at you tube link for multilingual rendition of MSS... link for which provided above...

JAB TERE NAIN MUSKURATE ---- MEHDI HASSAN is at...

http://www.youtube.com/watch?v=z4Gk3EGhIV4

you have some more fantastic information about this raga...which I could not get in the net...

I feel the absence of coolkani..who has fund of knowledge in such matters..

[harimau]

There seems to be is a very rare raga called "japani"...

"There is a raga called Gopriya which is a janya of the 62nd mela Rishabhapriya and it uses a whole tone between the notes of its scale. It is otherwise known as Debussy scale because it was popularized by him. Sometimes it is called Japani because it is also used Koto music of Japan. There are two compositions on my list: Gopika-Rupaka-Bangalore S.Mukund and Na moravina rada-Rupaka-S.Ramanathan. The notes of this raga are: S R2 G3 M2 D1 N2 S; S N2 D1 M2 G3 R2 S "...

........

This raga was incorporated into Carnatic music by the late Dr. S.Ramanathan and named "Jaapaani".

Corrections are welcome

If the raga alreay existed, how coud it have neen incorporated into Carnatic music by Dr S. Ramanathan? He just wrote a krithi in it. The raga was already named Gopriya and there was no need to call it Jaapaani. Why didn't he call it DeBussy if he wanted to rename it? Is it because "Jaapaani" sounds vaguely Indian as opposed to DeBussy?

Anyway, here is a krithi with the raga mudra:

Tala: Chatusra Ekam

Mera Joota Hai Japani
Ye pataloon Inglistani
Sir par Lal Topi Russi
Phir be Dil Hai Hindustani

[cmlover]

harimau
That indeed was in Rag DeBussy, the way Raj Kapoor sang it

[venkatpv]

This is a very special rAga for a host of reasons - all the notes are evenly spaced - S-R2-G3-M2-D1-N2-S*.

On a veena fretboard, the raga can be played by selecting any point at random, and playing on every alternate fret. the other interesting thing about this rAga is that it is a sva-mUrchanakAraka rAga. GrahabhEda at all of r, g, m, d and n gives us the same rAga.

But that's just one reason stated 3 different ways, no? I don't disagree with any of the statements... just that they are not 3 different reasons why Gopriya is interesting. Nitpicking!

[keerthi]

Nitpicking welcome venkatpv.

I am not sure if they're all the same thing. They're all resultant of the scale being what it is.

line 3 is merely an explanation of line two, so it is not as if they are separate reasons. And I'm not sure if line 1 and line 2/3 are the same thing..

[kittappa]

Another kriti with the raga mudra in two places:

p: jApAn love in tokyO

a: lEgayi dil guDiyA jApAn ki
pAgal mujhE kardiyA (jApAn love in tokyO)

[anonymityatlast]

jApAn doens't count; only jApAnI does. :tmi:

Here's another keerthanam: (saahityam: Anand Bakshi, varnamettu: RD Burman)

P: phoolon ka taaron ka sab ka kehna hai ...

C1: bholi bhali jaapaani gudiya jaisi tu ...

[kittappa]

jApAn doens't count; only jApAnI does.

Why not? Then shankara in shankara navanIta in akShayalinga vibhO, manOharam in shankaram abhirAmi, rItigauravE in srI nIlOtpalanAyikE, chitbimbE kaLajita in srI mAtA, and many others do not count at all. The composer in jApAn, love in tokyo has subtly woven the raga mudra.