S-R-G-mM-P-D-N-S

---

Aside from its afternoon designation, Gaud Sarang carries few discernible hints of the Sarang family – running more like a vakra Bihag variant seasoned by a GRmGPRS pakad amongst other melodic quirks (some refer to it as ‘Din ki Bihag’: ‘Daytime Bihag’). Shuddha ma is strong, but not used as a nyas, with its enclosing swaras preferred as pause-points instead (Ga & Pa). Omkarnath Thakur’s Sangitanjali Vol.4 notes that the raga “can bring a serious mood when performed in vilambit; however it can also evoke a hopeful and energetic atmosphere in madhya–drut” (in particular, the wide P/N and P\R jumps are challenging to render at high speeds) – while Parrikar points to “proximate melodies such as Kedar, Hameer, and Nand”, and “a Gaud-inspired tonal byte [SGRmG, GmGP, PmG, SPmG], which carries the soul, or if you will, the G-spot, of Gaud Sarang…”). Associated with shringar rasa.

---

• Raga Megalist (365+) •

राग गौड सारंग

Search | Glossary | Tags

• Hindustani Raga Index •

Aroha: SGRmG, PMDP, SNRS

Avroh: SNDP, MPmG, RGRm, GPRS

---

Chalan: e.g. SRNSGRmG; GmRmG; SGRmGP; PMP(MP)MG; PMDPS; NRSNDP; P(MDP)MG; RGRm; GPRS (Bor/Sadolikar)

—Kumar Mardur (2014)—

---

[alap, e.g. 0:06] (RSPMD)P(MP) P(MPMD) P(MP)m G, S(NSN)G (m)G (m)GRG (mGRGR)m G(mG), P(mGPG)P (M)P…

---

• Experiments •

Novel interpretations of the raga’s essence…

---

—Joe Harriott Double Quintet (jazz)—

---

“Indo-Jazz Suite (released in 1966) freeze-framed something in Indo-jazz fusion that was unique to Britain. The States may have had ‘happening’ notables like Don Ellis, but never a John Mayer or a Joe Harriott. Mayer was a Calcutta-raised composer-violinist, equally at home in Hindustani classical and Indian vernacular forms as he was in Western classical and popular music forms. Jamaica-born altoist Harriott was a jazzer who took the jazz path rather than the jazz-into-ska route…” (Jazzwise)

---

• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

---

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.

---

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: Bihag, Nand, Hameer, Kamod, Maru Bihag, Pat Bihag, Chayanat, Shyam Kalyan, Khem Kalyan, Lakshmi Kalyan, Sanjh Saravali

–Proximate Forms–

Bilawal = ‘Gaud only ma‘

Yaman = ‘Gaud only Ma‘

Bhankari = ‘Gaud komal re‘

Shankara = ‘Gaud no Ma‘

Chandni Kedar = ‘Gaud double Ni‘

(n.b. these are just ‘scalar similarities’, with nothing particular implied about phraseological overlap)

–Swara Geometries–

---

• Core form: S–R–G–mM–P–D–N–S

• Reverse: SrgmMPdnS

• Negative: 3-2-5-2

• Imperfect: 1 (Ma)

• Detached: none

• Symmetries: mirror (mM—NS)

• Murchanas: Bihag set

---

• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

---

–Global Translations–

---

• Carnatic: ~Behag/Shankarabhanaram

S-R₂-G₃-M₁-M₂-P-D₂-N₃-S

• Jazz: Lydionian

1-2-3-4-#4-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-2-4-5-6-7-9-11-0

(2–2–1–1–1–2–2–1)

---

o • o • o o o o • o • o o

---

• Tanpura: Sa–Pa (+Ni)

• Names: Gaud, Gaud Sarang, Gaur Sarang, Din ki Bihag

• Transliterations: Hindi (गौड सारंग); Bengali (গৌর সারঙ্গ); Kannada (ಗೌಡ ಸಾರಂಗ್)

—Amjad Ali Khan (2005)—