• Raag Meghranjani •


As per Abhirang’s performance notes (on his recording of the Pyaari Pyaari Batiyaan bandish), Meghranjani’s swara set is formed by removing the komal dha from Lalit. This produces an even stranger scale form, with two consecutive generic swarasPa & Dha – being omitted (a truly rare feature: as far as I can discern, Adbhut Kalyan and Devranjani are the only other audav ragas to display it). This has the effect of concentrating focus onto the Sama sangati, with the shuddha ma taking a stronger role than the tivra (Ocean of Ragas suggests core combinations including NrGm; Sm mGrGrS; Sm NSrrS; NmG; mrGrS). Jairazbhoy speculates that the raga’s origins lie in a Pa-murchana of Devranjani – although it seems to be a direct borrowing from the Carnatic Megharanjani (Abhirang: “a janya [‘derived’] raga of the 15th Melakarta raga Mayamalavagowla”), dating back to some time before Bhatkhande’s era. Despite the unmistakably Lalit-style ‘komal Pa‘ flavours, most renditions tend to fashion their movements after the Bhairavang.

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—Abhijith Shenoy ‘Abhirang’ (2021)—

[bandish, e.g. 0:49] (S)GrGm, GrS, (NS)N r G m; GmmN, m, (G)m, Gm, G(m)rG, rGG, G(mGm) S(NS)m, (G)m, Gm G(m)rG, (S)GrGM(GM), (M)G rS…


• 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.


–Swara Geometries–

Core form: S-r-G-mM-N-S
Reverse: SrMPdNS (=none)
Inverse: ni; SGmDnNS (=none)
Imperfect: 2 (Sa, re)
Detached: none
Symmetries: mirror (Rg—dD)
Murchanas: none


–Global Translations–

Carnatic: ~Megharanjani
Jazz: Double Harmonic b5 (no 6th)
Pitch classes (‘fret-jumps’):

o o • • o o o • • • • o o


• Tanpura: Sa–ma
• Names: Meghranjani, Megharanjani, Megh Ranjani


—Rendition ()—




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Hindustani Raga Index

An open-ended project seeking to bring North Indian raga closer to all who approach with open ears. Combines direct input from dozens of leading Hindustani artists with in-depth insights from music history, global theory, performance practice, cognitive science, and much more! [out 2023]

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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!

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