• Raag Devranjani •

S-m-P-d-N-S


Stretched by the emptiness of a vast S-m 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 importance of the ascending phrase Sm, mP as a launchpoint into the denser uttarang space. Seemingly of Carnatic origin (despite differing from the South Indian form of similar name) – and, though tantalising, remains rare.


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—Abhijith Shenoy ‘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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• 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 | 32Enclosed | 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.

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• Prakriti: (none found)

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–Swara Geometries–

Core form: SmPdNS
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 (ReGa)

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–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


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• Tanpura: Sa–Pa (+Ni)
• Names: Devranjani, Devaranji, Devranji

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—S.N. Ratanjankar (~1960s)—

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