Miyan ki Sarang | SRmPDnNS | Hindustani Raga Index

S-R-m-P-D-nN-S

A relatively straightforward mixture of Miyan ki Malhar and Brindabani Sarang, which omits Ga throughout in the fashion of the latter raga, while showcasing the former’s nDNS uttarang phrase (Jairazbhoy observes that “Dha is attached to ni, more or less as an ornament”). Refer to assorted vocal renditions by Apoorva Gokhale, K.G. Ginde, Shounak Abhisheki, Basavraj Rajguru, Pandit Jasraj, and Sardarbai Karadgekar (seemingly her only surviving recording) – as well as a rare instrumental take from Ali Akbar Khan. Close to Dhuliya Malhar (as per Ishwarchandra Karkare, “in Miyan ki Sarang, [there is] a little bit [more] in mandra saptak, and you [often] sing RPmR”). Also see other Malhar variants (e.g. Des Malhar & Jayant Malhar) and Sarang compounds (e.g. Samant Sarang & Saraswati Sarang).

—Apoorva Gokhale (2018)—

[refrains, e.g. 2:05] RSn\P(nP), n\DNS (NSRN); NS mR/P Pm\R mR; NSS (m)Rm, PPn\DNS, RNSn\P(nP), P(nPS)nP; RSn\P(nP), n\DNS…

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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

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Raganga: Bhairav | Malhar | Kan. | Todi

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Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• *Prakriti: Badhans Sarang, Samant Sarang**, Surdasi Malhar*

Also see other shadav ragas which omit Ga

–Swara Geometries–

• Core form: S–R–m–P–D–nN–S

• Reverse: SrRgmPnS

• Negative: 5-2-1-2-2 (e.g. Adbhut Kalyan)

• Murchanas: Anup (on Pa)

–Global Translations–

S-R₂-M₁-P-D₂-N₂-N₃-S

• Jazz: Bebop Dominant (no 3rd)

1-2-4-5-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-2-5-7-9-10-11-0

(2–3–2–2–1–1–1)

o • o • • o • o • o o o o

• Names: Miyan ki Sarang, Mian Sarang

• Transliterations: Hindi (मियाँ सारंग); Bengali (মিয়া সারঙ্গ)

—Ali Akbar Khan (1986)—

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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!