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

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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.

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राग गौड सारंग

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• 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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• 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

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.

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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–

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• 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

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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

—Amjad Ali Khan (2005)—