Rañjani

Rañjani is a upāṅga janya¹ of the 59th mēḷakarta² Dharmavati. It is an auḍava-vakra ṣāḍava³ rāga. The svaras⁴ occurring in this rāga in ascent are ṣaḍja, chatuśruti riṣabha, sādhāraṇa gāndhāra, prati madhyama, chatuśruti dhaivata. Kākali niṣāda occurs in descent⁵ .

Its ārōhaṇa ⁶ and avarōhaṇa ⁷ are

In terms of Western notes, if C is taken as the base, then the scale is

It is a rakti rāga or a rāga which pleases instantaneously. It is not a very ancient rāga and finds mention in treatises of the latter half of the eighteenth century and later. Riṣabha and dhaivata are rāgachāyā svaras⁸ and nyāsa svaras⁹ .

They are also vādi-samvādi svaras (consonant notes).

It can portray rasas¹⁰ like karuṇa (compassion), vīra (valour) and śṛṅgāra (romantic) very effectively.

Some of the signature phrases of this rāga are

Footnotes

1 A derived rāga which has notes only from its own parent rāga.

2 Parent rāga

3 Auḍava- A scale with 5 notes- Pentatonic. Sampūrṇa- A scale that has all 7 notes. Auḍava-sampūrṇa is a scale with 5 notes in ascent and 7 notes in descent.

4 Notes

5 There are 16 varieties of svaras in Carnatic music. They are

The above table gives you information on the notes as they are referred to between Sa on the middle octave to the Sa on the upper octave. It needs to be interpreted based on the Raga and its scale formation as given above. In the table given above, there are notes that use the same frequencies but, are spelt differently. For example, Rishaba 2 is equal to Gandhara 1, Dhaivata 2 is equal to Nishad 1. However, because of the ornamentation (Gamakas) most often the notes are not portrayed as it is played out on the Piano. There is a certain distortion in the frequencies making it difficult to identify the actual notes involved in the Scale formation.

6. Scale in ascent
7. Scale in descent
8. Notes which most effectively bring out the mood of the rāga
9. The landing notes for elaboration in various stages during improvisation.
10. Emotions or moods.