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

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Aside from its afternoon designation, Gaud Sarang typically carries few 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 Kalyan ragas such as Kedar, Hameer, and Nand, (along with “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.

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• Raga Masterlist (1000+) •

राग गौड सारंग

Search | Glossary | Tags

• Hindustani Raga Index •

Aroha: SGRmG, PMDP, SNRS

Avroh: SNDP, MPmG, RGRm, GPRS

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

—Kumar Mardur (2014)—

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[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…

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• Experiments •

Novel interpretations of the raga’s essence…

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—Joe Harriott Double Quintet (jazz)—

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“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)

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• Classifiers •

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

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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

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

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

Also compare to other members of the Bihag raganga (n.b. the ‘Gaud Sarang’ title is often considered misleading, as the raga typically shows few hints of Sarang)

–Swara Geometries–

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• Core form: S–R–G–mM–P–D–N–S

• Reverse: SrgmMPdnS

• Complement: SrgdnS

• Imperfect: 1 (Ma)

• Detached: none

• Symmetries: mirror (mM—NS)

• Murchanas: Bihag set

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

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–Global Translations–

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• 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)

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o • o • o o o o • o • o o

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• 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)—