S-R-m-P-nN-S

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The Sarang raga lineage, often 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) is the principal raga of this group, and 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 – 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. Similar to a double-Ni variant of Madhumad Sarang, while also belonging to the Jog murchana set. Compare to other Sarang family forms such as Shuddha Sarang, Samant Sarang, Saraswati Sarang, and Sarangkauns.

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• Raga Megalist (365+) •

राग सारंग (बृंदावनी)

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• Hindustani Raga Index •

Aroha: SRmPNS

Avroh: SnPmRS

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Chalan: e.g. SN, NSR, P(m)R, nPmR, N, S (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

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: (none found)

Also compare to other ragas matching the generic swaras ‘Sa-Re-Ma-Pa-Ni‘: including Bairagi (S-r-m-P-n-S); Megh, Madhumad Sarang (S-R-m-P-n-S); Devshri (S-R-M-P-n-S); & Madhusurja (S-rR-mM-P-n-S).

–Swara Geometries–

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• Core form: S–R–m–P–nN–S

• Reverse: SrRmPnS

• Negative: 4-2-1-2-2-1 (e.g. Manavi)

• 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)—