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

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A rare raga of the Sarang family, around which there exists limited melodic consensus. As per Abhirang’s account, “when we only use tivra Ma in Shuddha Sarang, it is converted to Noor Sarang…in avroh, the Dha is kept ‘free’ [e.g. ornamented D(NP)]” – also noting its proximity to Jaymini Sarang (both Ni). Dhrupad interpretations tend to deviate from this swara set: Bahauddin Dagar, who describes it as “peculiarly a Dagar gharana raga”, includes both forms of Ma and Ni (sometimes adjacently via meend), thus matching the core form of Ambika Sarang), as well as flourishes of komal ga (also refer to a vital rendition by his father Zia). And, while some debate persists, the superb ‘Loor Sarang’ recordings of Kishori Amonkar seem highly likely to be the same raga (Roshan Sahab: “There is no certainty about correct nomenclature…’Noor’ means ‘light’, [whereas] ‘Loor’ has no meaning…When [her mother Mogubai Kerkar] taught her this raga, she [called it] ‘Loor Sarang’, but when Kishori started performing it, she pondered over the name…and thought that, because of old age, [her mother] might have mispronounced it…In many concerts, Tai [announced] it as ‘Noor Sarang’…but what is in a name?”). Also see other Sarang compounds including Saraswati Sarang, Miyan ki Sarang, and Lanka Dahan Sarang.

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—Bahauddin Dagar (2020)—

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[jor, e.g. 32:54] PN, N/S SRS(N), mRSN(SNSNSN), PN(SN) S, SR (m)R (m)R SRNS(NSD), P (R)m\R, MPN/S (N)S, P m(R)R S, R(mR), R/M(P) M(P)M(P) M/P, P, P, P mRS…

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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: Shuddha Sarang, Kedar

–Swara Geometries–

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• Core form: S–R–mM–P–D–N–S

• Reverse: SrgmMPnS

• Negative: 3-2-1-4-2 (e.g. Bairagi)

• Imperfect: 2 (Ma, Dha)

• Detached: none

• Symmetries: none

• Murchanas: Kedar set

–Global Translations–

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• Carnatic: (~Saranga Tarangini)

S-R₂-M₁-M₂-P-D₂-N₃-S

• Jazz: Lydian (no 3rd, dbl. 4th)

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

• Pitch classes (‘fret-jumps’):

0-2-5-6-7-9-11-0

(2–3–1–1–2–2–1)

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o • o • • o o o • o • o o

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• Tanpura: Sa–Pa (+Ni)

• Names: Noor Sarang, Nur Sarang

—Zia Mohiuddin Dagar (1981)—