S-gG-m-dD-n-S

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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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—Ulhas Bapat (2003)—

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

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• Classifiers •

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

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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.

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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–

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• 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–

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• 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)

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o • • o o o • • o o o • o

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• 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‘)