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 visit the territory 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’]”.
• Raga Megalist (365+) •
राग अमृत रंजनी
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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
• 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‘)