Raag shudh Sarang Bada Khayal lesson Live Riyaz Session with Guruji Sanjay Dewale Part 8

स्वर गंधार वर्ज्य। मध्यम दोनों। शेष शुद्ध स्वर।
जाति षाढव - षाढव
थाट कल्याण
वादी/संवादी रिषभ/पंचम
समय दिन का द्वितीय प्रहर
विश्रांति स्थान ,नि; रे; प; नि; - सा'; नि; प; रे;
मुख्य अंग ,नि सा रे म् म् प ; म् प म् म रे ; रे ,नि ,नि सा ; ,नि ,ध सा ,नि रे सा ;
आरोह-अवरोह ,नि सा रे म् प नि सा' - सा' नि ध प म् प म् म रे सा ,नि सा;

विशेष - दिन के रागों में राग शुद्ध सारंग एक बहुत ही प्रभावशाली राग है जो की श्रोताओं पर गहरा प्रभाव डालता है। अवरोह में दोनों मध्यम लगाते हुए रिषभ पर आया जाता है (म् म रे) जिससे यह राग स्पष्ट रूप से सामने आता है। इसी प्रकार सा ; ,नि ,ध सा ,नि रे सा यह राग वाचक स्वर संगती है। सामान्यतया इस राग का आरोह सा रे म१ प नि सा है परन्तु कभी कभी म् प ध नि सा इस तरह से भी लिया जाता है। इसीलिए इस राग की जाती षाढव - षाढव ही मानना उचित है। अवरोह में धैवत पर न्यास नहीं किया जाता परन्तु निषाद से पंचम मींड लेते हुए इसका प्रयोग किया जाता है जैसे - नि (ध)प।

आरोह में मध्यम तीव्र का उपयोग ऐसे किया जाता है - म् प नि सा' या म् प ध नि सा', जबकि मध्यम शुद्ध का उपयोग सिर्फ अवरोह में किया जाता है जैसे - म् म रे सा या ,नि सा रे म रे सा। मन्द्र सप्तक का शुद्ध निषाद इस राग का बहुत प्रभावशाली स्वर है। कभी कभी कोमल निषाद का प्रयोग भी बहुत अल्प रूप में किया जाता है जैसे - म् प नि१ प म् म रे सा। इसके निकट का राग श्याम-कल्याण है, जिसके आरोह में गंधार का प्रयोग होने के कारण यह शुद्ध सारंग से अलग हो जाता है।

यह स्वर संगतियाँ राग शुद्ध-सारंग का रूप दर्शाती हैं - ,नि सा रे ; रे म रे ; सा ,नि (,ध),प ; ,नि ,ध सा ,नि रे सा ; ,नि सा रे म रे ; म् प ; प रे म रे ; सा ,नि सा रे सा ; ,नि सा रे म रे म् प ; रे म् प नि (ध)प ; प नि सा' रे' सा' ; सा' रे' सा' नि ध सा' नि (ध)प ; म् प ; म् म रे ; म रे सा ,नि सा रे सा ;


Sarang ragang Hindustani pronunciation: [ˈsärəŋg ˈrägäŋg] (ISO 15919/IAST: Sāraṅg rāgaṅg, Hindi and Marathi: सारंग रागांग, Bengali: সারং রাগাঙ্গ), and all other ragas falling under this category are ragas in the Hindustani Classical music. Ragang refers to a family of ragas, sharing a common melodic kernel. Other similar raga families are the Malhar family and the Kanada family. The Sarang ragas are sung in the time period of early afternoon. This includes many ragas originating from folk music and songs. The Sarang raga and all other ragas falling under in this type depict the scenes of the Indian historic past events, e.g. Raag Brindabani Sarang depicting Vrindavan or Lankādahan Sārang depicting Hanuman singing this raga while burning Lanka with his tail, etc.

The main raga Sarang was created by Swami Haridas. The associated mythology being that he brought Lord Krishna to earth by singing this raga who took the form of an idol which can still be seen in Mathura. It may be so that raga Sarang is also called as Brindabani Sarang or Vridavani Sarang depicting that Lord Krishna being associated as Vrindavan as he lived there. This raga is sung mostly based on the Mathura region. The Gats and the Bandhish are based on the Braja Basha or the Braja language/dialect.


1. Raga Sarang - The associated mythology of raga Sarang is that 'being that he (Swami Haridas) brought Lord Krishna to earth by singing this raga who took the form of an idol which can still be seen in Mathura. It may be so that Raga Sarang is also called as Brindabani Sarang or Vridavani Sarang depicting that Krishna being associated as Vrindavan as he lived there.'

2. Raga Lankadahan Sarang - Lankadahan Sarang (also known as Lankadahani Sarang) depicts Lord Hanuman singing this raga while burning Lanka with his tail. See Sundar Kand for more indepth information.

3. Raga Madhumad Sarang - The only difference between raga Brindabani Sarang and Madhumad Sarang is the Brindabani Sarang has both, the Komal and the Shuddha Nishad (Ni) but Madhumad Sarang has only the Komal Nishad.


Miyan Tansen
4. Raga Miyan ki Sarang - Miyan ki Sarang is the mixture of raga Miyan Malhar and raga Vridavani Sarang. This raga was made by Miyan Tansen and so called as Miyan Ki Sarang. This raga obtains by eliminating Komal Gandhar (Ga) from Miyan Malhar and by advancing the Sarang Raganga.

5. Raga Saraswati Sarang - Saraswati Sarang is simply a mixture of ragas, Saraswati and Sarang.

6. Raga Kauns Sarang - Kauns Sarang is just a mixture of ragas, Malkauns and Sarang.

7. Raga Maru Sarang - Maru Sarang is a mixture of ragas, Maru (Putra raga) and Sarang.



9. Raga Samant Sarang - The approach to Shuddha Dhaivat and its assimilation in vakra aang is the main theme in raga Samant Sarang.

10. Raga Salang - This audav jati Sarang prakar is in a sense the obverse of Madhmad. That is, the komal nishad in the Madhmad contour is replaced by its shuddha counterpart here. This makes it somewhat tan-unfriendly.

11. Raga Ambika Sarang - This raga was designed by Chidanand Nagarkar. The gandhar is varjya, and elements of Shuddha Sarang and Kafi are blended together. There are occasional reminders of Raga Saraswati but the presence of shuddha nishad and shuddha madhyam make for a clear separation.