S-R-G-mM-P-D-N-S
Aside from its afternoon designation, Gaud Sarang carries no 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+) •
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…
• 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
–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
—Amjad Ali Khan (2005)—