RMIM Archive Article "410".
From the RMIM Article Archive maintained by Satish Subramanian
#
# RMIM/C Archives..
# Subject: Raga Megharanjani
# (Series on Hindustani ragas inspired by Carnatic ragas)
#
# Posted by: Rajan Parrikar (parrikar@spot.colorado.edu)
# Author: Rajan Parrikar
#
#
Subject: On Raga Megharanjani
Namashkar.
Continuing with the chapter on Hindustani rAgas having roots in
Carnatic music we present today Raga Megharanjani. It is a janya of
the 15th melakartA, Mayamalavagaula (the corresponding Hindustani thATa
is Bhairav). The rAga is an apposite riposte to Raga Devaranjani
discussed earlier, in the sense that it completely drops the pancham
and dhaivat swaras. This necessarily gives rise to the wide-intervallic
meenDs so characteristic of these two rAgas.
A possible A/A set is:
S, r G M, N S"::S" N S" M, G r S
uuuu--->meenD
The rishab is komal, rest all are shuddha swaras. A trace of tivra
madhyam is occasionally introduced (see below). The happening event
here is the huge meenD from the tAr shadaj back to the shuddha madhyam.
M is a very strong and dwelling on it is essential. Although the rAga
is derived from the Bhairav parent scale, the treatment of the rishab
is not Bhairav-like. Instead, in the Hindustani version, the rAga is
seasoned with the Lalit-ang. And sometimes, the link is made explicit
by the Lalitesque chromatic use of the shuddha and tivra madhyam.
A sample chalan is now offered:
S, N' r G M, G r G, (G)M, M N S", S", r", N r" S", S" M, m (G)M
uuuu
Megharanjani is ideally suited for slow, relaxed development and
dhrupadiyAs will do well in it. It deserves to be popularised. The
following composition of S.N. Ratanjankar illustrates all its key
features. There are very minor deviations in the antara that reflect
my own taste and interpretation based on my hearing of this composition.
The follow-up to Devaranjani (by Ramaprasad K V) listed a Carnatic
recording. Are there more?
Warm regards,
r
*****
Raga: Megharanjani
Tala: JhaptAla (slow-medium, to allow for meenDs)
Composer: S.N. Ratanjankar
dAnava dalan dheera veera gambheera hai
nAyaka sakala shresTHa dAni dayavant hai
japata jAko nAma taRat dukha-dand hai
bhakta-vatsala krupAvant guNavanta hai
Glossary:
dAnava = demons
dalan = killing
dayavant = possessed of compassion
taRat = ward off
dukha-dand = sorrow and conflict/confusion
bhakta-vatsala = lover of devotees
krupAvant = possessed of benevolence
guNavanta = possessed of virtue
Key:
(1) All shuddha notes in caps (M=shuddha madhyam, m=tivra madhyam)
(2) The " and ' following a note denotes its tAr-saptak and mandra-
saptak affiliation, respectively.
(3) The grace note is enclosed in parenthesis of the type () and it
operates on the note immediately following it.
Asthaie:
1 2 3 4 5 6 7 8 9 10
N' r (M)G M M M M (G)M - M
dA............na.....va da.....la.....na dhee..........ra
<-------smooth------->
(G)M - m (G)M - G - r (r)G -
vee...........ra gam...........bhee..........ra hai.....
<----meenD---->
(G)M - M M (S")N N S" (S")r" - S"
nA............ya.....ka sa.....ka.....la shresh........THa
<----smooth---->
NS" - M (G)M M (M)G - r (r)G -
dA............ni da.....ya.....van...........ta hai.....
<---meenD--->
Antara:
1 2 3 4 5 6 7 8 9 10
(G)M M M (S")N S" S" - r" - S"
ja.....pa.....ta jA............ko...... nA............ma
<----smooth----> <----smooth---->
N N r" G" r" G" r"G" r" S" -
ta.....Ra.....ta du.....kha dan...........da hai.....
<----smooth---->
S" - S" (S")r" - S" S" r" S" -
bha...........kta vat...........sa.....la kru....pA......
S" - M M M (M)G - r (r)G -
van...........ta gu.....Na.....van...........ta hai.....
<----meenD----->
From the RMIM Article Archive maintained by Satish Subramanian