SamantadeeparaOne note apart
- Samantadeepara uses Panchamam, which Megharanjani avoids.
Carnatic raga
Megharanjani
A janya (derived) raga of melakarta 15 Mayamalavagoulai. It takes its notes from that parent scale, using the ascent and descent shown here.
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- Melakarta
- 15 Mayamalavagoulai (janya)
- Jati
- Audava–Audava
- Notes
- 5 of 12
- Movement
- Krama (straight)
- Time
- Any time
- Rasa
- Varied
Your guide to Megharanjani
New to classical music — moods, stories, film songs and simple listening.
Start listening
Press play to hear the notes of Megharanjani, rising then falling.
Its mood
Varied. Traditionally heard at any time.
Film songs you may know ↓New to classical music?
Megharanjani, explained simply
Think of a raga as more than a scale: a set of rules and a personality. Megharanjani has its own notes, its own favourite phrases, its own time of day and its own mood, the way a person has a recognisable voice and way of talking.
How it feels
Megharanjani sounds mostly bright, with a few shadowed notes that add a bittersweet tint. Its emotional colour is a character all its own. Traditionally it can be performed at any hour, because Indian musicians believe each raga matches the feeling of a certain hour or season.
How to recognise it
- Listen for the gaps. Megharanjani never uses Pa or Dha, so the melody seems to skip over certain steps. This "missing note" sound is one of the quickest giveaways.
- It uses only five notes, like many folk tunes around the world, so it sounds simple, singable and open.
- It uses komal (flat) Re, the note just above the home note. Sliding off Sa onto this very close note creates tension right at the start of phrases.
Its beauty
A janya (derived) raga of melakarta 15 Mayamalavagoulai. It takes its notes from that parent scale, using the ascent and descent shown here. The beauty of Megharanjani comes from patience: a good performer doesn't rush through the scale but lingers, bending into notes and letting each phrase breathe, so the mood builds slowly until it fills the room.
What makes it different
- In Carnatic music, notes are rarely held still. They wobble, slide and bend (called gamakas), and those shakes are as much a part of the raga's identity as the notes themselves.
Listening exercise: Try this: press "Full scale" above, then open one of the recordings below. In the first few minutes, see if you can hear the missing Pa. Once you catch it, you've started to recognise Megharanjani.
History & evolution
Megharanjani is a janya (derived) raga, drawing its notes from its parent melakarta. Janya ragas often existed long before the melakarta system and were later fitted into it.
The Carnatic Trinity of the 18th–19th centuries (Tyagaraja, Muthuswami Dikshitar and Syama Sastri) gave lasting shape to most popular ragas through their compositions. Their kritis remain the standard reference for how each raga should move.
Looking for more history…
Scale
Arohana (ascent) · 5 notes
S R1 G3 M1 N3 S'
- Devanagari
- स रि₁ ग₃ म₁ नि₃ स•
- Tamil
- ஸ ரி₁ க₃ ம₁ நி₃ ஸ•
- Telugu
- స రి₁ గ₃ మ₁ ని₃ స•
- Kannada
- ಸ ರಿ₁ ಗ₃ ಮ₁ ನಿ₃ ಸ•
Avarohana (descent) · 5 notes
S' N3 M1 G3 R1 S
- Devanagari
- स• नि₃ म₁ ग₃ रि₁ स
- Tamil
- ஸ• நி₃ ம₁ க₃ ரி₁ ஸ
- Telugu
- స• ని₃ మ₁ గ₃ రి₁ స
- Kannada
- ಸ• ನಿ₃ ಮ₁ ಗ₃ ರಿ₁ ಸ
Synthesised with Sa = A3. A real performance uses gamakas, meends and phrasing that a bare scale can't capture.
Notes on the octave
S
C
r
C#
R
D
g
D#
G
E
M
F
M#
F#
P
G
d
G#
D
A
n
A#
N
B
| Swara | Interval from Sa | Western (Sa = C) |
|---|---|---|
| Shadjam | Unison | C |
| Shuddha Rishabham (R1) | Minor 2nd | C# |
| Antara Gandharam (G3) | Major 3rd | E |
| Shuddha Madhyamam (M1) | Perfect 4th | F |
| Kakali Nishadam (N3) | Major 7th | B |
Omitted (varjya) swaras: Pa, Dha.
Character
Jati (Audava–Audava). The ascent uses 5 distinct notes and the descent 5. Audava = 5, Shadava = 6, Sampurna = 7.
Krama (straight) movement. Notes are taken in order going up and coming down.
Parent scale. Melakarta 15 sits in chakra 3 of 12 and uses shuddha madhyamam (M1). Megharanjani is a janya (derived) raga, drawing its notes from this parent.
Time (Any time). Not tied to a particular time; often placed by convention at a set point in a concert.
Listen
Each link opens a YouTube or Spotify search for this raga by the instrument or artist.
Vocal
Flute (Venu)
Veena
Violin
Nadaswaram
Why this time of day?
Megharanjani is associated with: Any time.
- In Carnatic music, the time of day is a gentle custom rather than a strict rule. Most ragas can be sung at any concert, and the time linked to a raga usually comes from temple rituals and old practice.
- Megharanjani has no fixed time and is sung freely in concerts.
Close ragas & how they differ
Ragas that sound most like Megharanjani, and how to tell them apart.
LalithaOne note apart
- Lalitha uses Shuddha Dhaivatam (D1), which Megharanjani avoids.
- They belong to different times: Megharanjani is sung in the any time, Lalitha in the morning.
- Mood: Megharanjani leans varied, Lalitha leans bhakti.
GowlaOne note apart
- Gowla uses Panchamam, which Megharanjani avoids.
- Gowla uses a different number of notes going up than coming down; the other is more symmetrical.
- They belong to different times: Megharanjani is sung in the any time, Gowla in the morning.
- Mood: Megharanjani leans varied, Gowla leans bhakti.
JaganmohiniOne note apart
- Jaganmohini uses Panchamam, which Megharanjani avoids.
- Jaganmohini uses a different number of notes going up than coming down; the other is more symmetrical.
- Mood: Megharanjani leans varied, Jaganmohini leans bhakti.
VasanthaOne note apart
- Vasantha uses Chatushruti Dhaivatam (D2), which Megharanjani avoids.
- Vasantha uses a different number of notes going up than coming down; the other is more symmetrical.
- They belong to different times: Megharanjani is sung in the any time, Vasantha in the evening.
- Mood: Megharanjani leans varied, Vasantha leans shringara.
ChayagowlaTwo notes apart
- Chayagowla uses Panchamam and Shuddha Dhaivatam (D1), which Megharanjani avoids.
- Chayagowla uses a different number of notes going up than coming down; the other is more symmetrical.
Other ragas from 15 Mayamalavagoulai
Ardhradesi · CarnaticBhavini · CarnaticBibhas {Hindustani} · CarnaticBowli Ramakriya · CarnaticCharuvardhani · CarnaticChayagowla · CarnaticChandrachooda · CarnaticDeshyagowla · CarnaticDevaranji · CarnaticEkakshari · CarnaticGhanasindhu · CarnaticGowlipantu · CarnaticGummakambhoji · CarnaticGundakriya · CarnaticGurjari · CarnaticKalyanakesari · CarnaticKannadabangala · CarnaticKarnataka Saranga · CarnaticLalitapanchamam · CarnaticMalavakurinji · CarnaticMalavapanchamam · CarnaticMargadesi · CarnaticMalahari · CarnaticMallikavasantam · Carnatic
Film songs in this raga
Bollywood (Hindi)
No well-known Hindi film song is confidently attributed to this raga yet.
Other Indian films (Tamil, Telugu, Malayalam, Kannada, Bengali, Marathi)
No regional film song is confidently attributed to this raga yet.
Top Bollywood songTop Tamil songTop Telugu songTop Malayalam songTop Kannada songTop Bengali songTop Marathi song
Film songs often take liberties with a raga, so treat these as "based on" rather than strict renditions.
Discussion
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Notation: Hindustani komal notes are lowercase (r g d n), M# = tivra Ma, ' = upper octave. Carnatic numbers mark swara variants (R1, G3, …).