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 to visit the territory of Bageshri (DnS), Rageshri (GmD), and Jogeshwari (gGm), while always retaining a highly distinct melodic character – cemented by a captivating pair of Bapat’s gats (as far as I can tell, the only available compositions). Given the near-total 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 as ‘5½–5½’] and ‘pratik’ [9 matras as ‘4½–4½’]…”.
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• Hindustani Raga Index •
—Ulhas Bapat (2003)—
[refrain, e.g. 7:44] GmnD, (m)dmGm gSnS GmnD, (m)dmGm gSnS GmnD…
• Classifiers •
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)
–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
—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‘)