S-R-m-P-nN-S

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The Sarang raga lineage, mythically linked to 16th-century mystic-musician Swami Haridas, is also associated with snake-charming rituals of the past. Brindabani Sarang (named for Uttar Pradesh’s Vrindavan region), the principal raga of this group, is believed to have brought an incarnation of Lord Krishna to earth when Haridas sung it for the first time. The raga – which, broadly speaking, takes shuddha Ni in ascent and komal ni in descent (e.g. RmPNS; SnPmR) – is associated with the blazing midday sun, and consequently tends to be expounded in madhya and taar saptak. Re, the vadi, is typically played ‘unadorned’: free of trills, vibratos, or other dramatic ornaments. Lies close to Madhumad Sarang, essentially running as a double-Ni variant of the same core essence. Compare to the rest of the Jog murchana set – as well as to other Sarang family forms including Shuddha Sarang, Samant Sarang, Saraswati Sarang, and Sarangkauns.

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• Raga Masterlist (1000+) •

राग सारंग (बृंदावनी)

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• Hindustani Raga Index •

Aroha: SRmPNS

Avroh: SnPmRNS

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Pakad: e.g. RmPR; mPnPmR; NS

Chalan: illustrative sequences – e.g. SN, NSR, P(m)R, nPmR, NS (Parrikar)

—Jayateerth Mevundi (2017)—

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[refrain, e.g. 0:20] (SR)NN S(NS)S, R S, S(NSRSNS) n\P NN, P(SN)R S, S(RmPn)P m(PnP) mRR, (R)NN, P(SN)R…

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• Ragmalas •

Historic miniature paintings (learn more)

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“Sarang Ragini, opaque watercolour on paper” (Mewar, c.1605)

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• Experiments •

Novel interpretations of the raga’s essence…

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—Krishnan Chandran (VR Demo)—

I received an intriguing email in Sep 2025 from reader Krishnan Chandran: “I’m a Virtual Reality researcher, and recently created a VR visualisation project to explore different ragas. I presented a paper titled Spatial Exploration of Melodic Topologies in Indian Classical Music using XR at the ICMI (Innovative Computer Music Interfaces) conference, and your work was a big influence throughout. I’ve attached the video and the paper for your reference. Someday, I would like to create a multi-user version which could potentially be used as a pedagogical tool. Here is my VR demo in Brindabani Sarang on electric guitar…”:

 

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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: (none found)

Also see other ragas with the generic swaras ‘Sa-Re-Ma-Pa-Ni‘ – and compare to the rest of the Sarang raganga

–Swara Geometries–

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• Core form: S–R–m–P–nN–S

• Reverse: SrRmPnS

• Complement: SrgGMdDS

• Imperfect: 2 (Re, Ni)

• Detached: 1 (Ni)

• Symmetries: none

• Murchanas: Jog set

–Global Translations–

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• Carnatic: ~Brindavana Saranga

S-R₂-M₁-P-N₂-N₃-S

• Jazz: Bebop Dominant (no 3rd/6th)

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

• Pitch classes (‘fret-jumps’):

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

(2–3–2–3–1–1)

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o • o • • o • o • • o o o

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• Tanpura: Sa–Pa (+Re)

• Names: Sarang, Brindabani Sarang, Vrindavani Sarang

• Transliterations: Hindi (बृंदावनी सारंग); Bengali (বৃন্দাবনী সারঙ্গ); Punjabi (ਸਾਰੰਗ); Kannada (ಬೃಂದಾವನ ಸಾರಂಗ)

—Ali Akbar Khan (1981)—