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

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A ‘sun and rain’ blend of Brindabani Sarang and Miyan ki Malhar, with the Sarang-ang tending to dominate the overall impression. Most artists omit Ga altogether and limit Dha to Miyan ki Malhar’s nDNS catchphrase, tending to prefer the ‘brisk’ ornaments of Sarang over the fluid oscillations of the Malhar family. Refer to 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 deviant instrumental take from Ali Akbar Khan, modelled on Shuddha Sarang rather than Brindabani Sarang and thus including tivra Ma. 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”). Refer to a melodic outline below – and also see other Malhar variants including Des Malhar & Jayant Malhar, and Sarang compounds such as Samant Sarang & Saraswati Sarang.

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• Raga Masterlist (1000+) •

राग मियाँ सारंग

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• Hindustani Raga Index •

Aroha: e.g. SRmR, RmPnP, mPnDNS

Avroh: e.g. RSNSnP, nPmR, PmRS, nDNS

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Pakad: e.g. RmR; nPmR; nDNS

Chalan: illustrative sequences e.g. NS; RmR; PmR; RmPnP; mPnDNS; RSNSnP; RmPnPmR; nPmRNS; nDNS

• Formed by blending core elements from Brindabani Sarang (SRmR; RmPnP; nPmRNS) and Miyan ki Malhar (nDNS) – individual recipes vary, although the Sarang-ang tends to dominate the overall impression

• Given the scalar overlap between the two parent ragas (e.g. Sarang’s SRmR; RmP; mPnPNS vs. Miyan ki Malhar’s m(m)R; m(R)P; mPnDNS), special care must be taken to distinguish them – e.g. the Sarang-ang invites ‘brisker’ ornaments and a stable shuddha Re, and the Malhar-ang calls for more ‘fluid’ meend and oscillations

• Most renditions exclude komal ga, although some include it in Miyan ki Malhar’s Kanada-ang mgmRS conclusion – and shuddha Dha is usually limited to the Malhar-ang nDNS pakad (although Maihar artists often feature it in the manner of Shuddha Sarang, along with touches of tivra Ma, e.g. RMPNS; RSNDP)

• Represents a blending of ‘sun and rain’ (or ‘afternoon and night‘) through its parent ragangas – with some linking its ultimate origins to Miyan Tansen’s era at Emperor Akbar’s durbar

—Apoorva Gokhale (2018)—

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[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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• 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: Badhans Sarang, Samant Sarang, Surdasi Malhar

See all shadav ragas which omit Ga – and compare to other members of the Malhar and Sarang ragangas (as well as to other forms which fuse elements of both)

–Swara Geometries–

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• Core form: S–R–m–P–D–nN–S

• Reverse: SrRgmPnS

• Complement: SrgGMdS

• Imperfect: 2 (Dha, Ni)

• Detached: 1 (Ni)

• Symmetries: none

• Murchanas: Anup (on Pa)

–Global Translations–

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• Carnatic: ~Narayani

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)

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o • o • • o • o • o o o o

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• Tanpura: Sa–Pa

• Names: Miyan ki Sarang, Mian Sarang

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

—Ali Akbar Khan (1986)—

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“The Miyan ki Sarang by Ali Akbar Khan is unorthodox…using Shuddha Sarang, rather than Brindabani, for its base. It is curious that the version taught to Bhatkhande by Wazir Khan is nothing like this. The implication is that Allauddin Khan must have gotten Miyan ki Sarang elsewhere, not from [his guru] Wazir Khan. Bhatkhande mentions that another Rampur Ustad independently taught him a Miyan ki Sarang which was identical to Wazir Khan’s, so the latter peddling an ersatz version to Bhatkhande can be ruled out in this instance. Furthermore, Bhatkhande’s alert and extraordinarily sharp mind was not easy to dupe…” (Parrikar)

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