Samant Sarang | SRmPDnNS | Hindustani Raga Index

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

A Sarang raga which, while infrequently performed, has found stable root in several vocal and instrumental gharanas. As per Parrikar, “shuddha Dha taken in vakra prayogas is the definitive theme, including tonal sentences of the type RmP; RmPDnDPmR; RmR; mDP. Some employ both Ni, others have use for only the komal…There is an occasional avirbhav of Desh…Ramrang’s vilambit composition [Humri Sudh Kahe Bisari Udho] comes with an arresting mukhda that swiftly scythes to the raga’s core”. Recorded by disparate artists including sitarist Ravi Shankar, sarodiya Debashish Bhattacharya, scholar-singer Ulhas Kashaklar, and Jaipur-Atrauli stalwart Vijaya Jadhav Gatlewar (who renders a Bhatkhande bandish). Also see other Sarang offshoots including Ambika Sarang and Saraswati Sarang – as well as the prakriti Surdasi Malhar and Miyan ki Sarang.

—Ulhas Kashalkar (2015)—

[refrain, e.g. 2:53] Sm(R) m, m\R(PmPm)PP, PPP PmD(P), DPm\R, m\R, NS, S/DPm R(mR)m, (mSN)R, m(RmRmRm)R, SR, m\R…

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• Recent Raga Index Updates (Jan 2026): Added new ragas: e.g. Asa, Basant Bahar, Badhans Sarang, Bayati, Chandni Todi, Chandraprabha, Deepavali, Firozkhani Todi, Gaud, Japaniya, Kaushiki, Latangi, Maru, Palas, Sarangkauns, Shivanjali, Shrutivardhini • ‘Bifurcations‘: analysis via ‘poorvang + uttarang’ formulas • DoGa Kalyan & the Beatles’ Blue Jay Way • Amir Khan’s ‘168 merukhands’ • Uncovered Prabhateshwari‘s origins • Transcribed Manjiri Asanare-Kelkar’s ‘Amodini‘ lec-dems • Experiments (e.g overtonal Bhairav, jazz Malkauns) • Survey of Sa Tunings • More Masterlist ragas (1000+)

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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

Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• *Prakriti: Badhans Sarang, Miyan ki Sarang**, Surdasi Malhar*

See all 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: Samant Sarang, Samat Sarang

• Transliterations: Hindi (सामंत सारंग)

—Yunus Hussain Khan (~1970s)—

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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!