S-r-G-mM-N-S

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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 swaras – Pa & Dha – being omitted (a truly rare feature: as far as I can discern, Adbhut Kalyan and Devranjani are the only other ragas to display it). This has the effect of concentrating focus onto the Sa–ma 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 its 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 (…although the earliest mention I can find comes from a 1939 edition of The Indian Listener). Despite the Lalit-style ‘komal Pa‘ flavours, most renditions fashion their movements after the Bhairav–ang.

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• Raga Megalist (365+) •

राग मेघरंजनी

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• Hindustani Raga Index •

Aroha: NrGmMm, NS

Avroh: SNMm, mGrS

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Chalan: (uncodified)

—Abhijith Shenoy ‘Abhirang’ (2021)—

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[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…

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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–r–G–mM–N–S

• Reverse: SrMPdNS

• Negative: 4-1-4-1-1-1

• Imperfect: 2 (Sa, re)

• Detached: none

• Symmetries: mirror (Rg—dD)

• Murchanas: none

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• Quirks: consecutive varjits (Pa–Dha) • ‘komal Pa‘ (=mMP)

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–Global Translations–

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• Carnatic: Megharanjani

S-R₁-G₃-M₁-M₂-N₃-S

• Jazz: Double Harmonic b5 (no 6th)

1-b2-3-4-#4-7-8

• Pitch classes (‘fret-jumps’):

0-1-4-5-6-11-0

(1–3–1–1–5–1)

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o o • • o o o • • • • o o

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• Tanpura: Sa–ma

• Names: Meghranjani, Megharanji, Megh Ranjani

—R.K. Srikantan (~1980s)—

(a Carnatic rendition, since I can’t find a second Hindustani take)