Amrut Ranjani | SgGmdDnS | Hindustani Raga Index

S-gG-m-dD-n-S

An ingenious evening raga created by the late (and vastly underappreciated) santoor maestro Ulhas Bapat, based around mirroring Jog‘s GmgS catchphrase in the uttarang as Dndm: thus hinting at a ma-murchana (i.e. ‘double-Ga is to Sa as double-Dha is to ma‘). This allows Amrut Ranjani (meaning ‘Nectar of Delight’) to sample flavours of Bageshri (DnS), Rageshri (GmD), and Jogeshwari (gGm), while always retaining a distinct melodic character – cemented by a captivating pair of Bapat’s gats (as far as I can tell, the only available compositions). Given the lack of further information about the raga, take the chance to learn more about Bapat’s other creative endeavours (“He has developed his own specialized system of tuning, [featuring] all the 12 notes…and reconstructed the sticks in a manner which enables him to produce meend. Composing in unique taals is another speciality, e.g. ‘makarand’ [11 matras: ‘5½–5½’] and ‘pratik’ [9: ‘4½–4½’]”.

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—Ulhas Bapat (2003)—

[refrain, e.g. 7:44] GmnD, (m)dmGm gSnS GmnD, (m)dmGm gSnS GmnD…

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Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: (none found)

Also see other ragas matching the generic swaras ‘Sa-Ga-Ma-Dha-Ni‘

–Swara Geometries–

• Core form: S–gG–m–dD–n–S

• Reverse: SRgGPdDS

• Negative: 2-1-4-1-4 (e.g. Kaushik Dhwani)

• Imperfect: 2 (Sa, Ga)

• Detached: none

• Symmetries: none

• Murchanas: Todi set

–Global Translations–

• Carnatic: (~Gangeyabhushani)

S-G₂-G₃-M₁-D₁-D₂-N₂-S

• Jazz: Phrygian Pentatonic (dbl. 3rd/6th)

1-b3-3-4-b6-6-b7-8

• Pitch classes (‘fret-jumps’):

0-3-4-5-8-9-10-0

(3–1–1–3–1–1–2)

o • • o o o • • o o o • o

• Tanpura: Sa–ma

• Names: Amrut Ranjani, Amrutranjini, Amrit Ranjani

• Transliterations: Hindi (अमृत रंजनी)

—Ulhas Bapat (1990s)—

(given the absence of a second Amrut Ranjani recording, here’s Bapat’s rendition of Jaijaiwanti: another ‘double-double’ raga, this time as ‘gG–nN‘)

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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!