Devranjani | SmPdNS | Hindustani Raga Index

S-m-P-d-N-S

Stretched by the emptiness of a vast Sa–ma poorvang jump, Devranjani is formed by removing the re and Ga from Bhairav. Abhirang offers up both ‘shuddha Ni’ and ‘double Ni’ variants, with the former appearing to be predominant – while Bhatkhande’s early 20th-century works discuss the unavoidable strength of the ascending phrase Sm, mP as a launchpoint into the denser uttarang space. Said to be of Carnatic origin (despite differing from the South Indian form of similar name) – and, though tantalising, remains very rare. Currently the only raga in the index to constrain its poorvang to the generic swaras ‘Sa-Ma’.

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राग देवरंजनी

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—Abhirang (2021)—

[refrain, e.g. 5:17] N\d N S, (N)SSm, Pm(PmPm)S, (N)Sm, (S)Pm (Pmd), N(dNdNd) S…

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• Recent Raga Index Updates (Jan 2026): Added new ragas: e.g. Asa, Basant Bahar, Badhans Sarang, Bayati, Chandni Todi, Chandraprabha, Deepavali, Firozkhani Todi, Gaud, Japaniya, Kaushiki, Latangi, Maru, Palas, Sarangkauns, Shivanjali, Shrutivardhini • ‘Bifurcations‘: analysis via ‘poorvang + uttarang’ formulas • DoGa Kalyan & the Beatles’ Blue Jay Way • Amir Khan’s ‘168 merukhands’ • Uncovered Prabhateshwari‘s origins • Transcribed Manjiri Asanare-Kelkar’s ‘Amodini‘ lec-dems • Experiments (e.g overtonal Bhairav, jazz Malkauns) • Survey of Sa Tunings • More Masterlist ragas (1000+)

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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 the only raga in the Index to entirely omit both Re and Ga)

–Swara Geometries–

• Core form: S–m–P–d–N–S

• Reverse: SrGmPS

• Negative: 3-1-1-1-2-3-1

• Imperfect: 3 (Pa, dha, Ni)

• Detached: 2 (dha, Ni)

• Symmetries: none

• Murchanas: none

• Quirks: consecutive varjits (Re–Ga)

–Global Translations–

• Carnatic: ~Manohari

S-M₁-P-D₁-N₃-S

• Jazz: Harmonic Minor (no 2nd/3rd)

1-4-5-b6-7-8

• Pitch classes (‘fret-jumps’):

0-5-7-8-11-0

(5–2–1–3–1)

o • • • • o • o o • • o o

• Tanpura: Sa–Pa (+Ni)

• Names: Devranjani, Devaranji, Devranji

• Transliterations: Hindi (देवरंजनी)

—S.N. Ratanjankar (~1960s)—

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Sa | Re | Ga | Ma | Pa | Dha | Ni

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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!