S-R-m-P-nN-S

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Brindabani Sarang, the principal raga of its lineage, is mythically linked to a fabled interaction between Lord Krishna and 16th-century mystic-musician Swami Haridas, where Haridas’ initial rendition of the raga summoned an incarnation of the deity to earth (‘Brindabani’ refers to the Vrindavan forests where Krishna spent his youth). Characteristically, it takes shuddha Ni in ascent and komal ni in descent (e.g. RmPnP; RmPNS; nPmRNS) – and is associated with the blazing midday sun, consequently tending to be expounded in madhya and taar saptak. Re, the vadi, is played ‘unadorned’: free of trills, vibratos, or other dramatic ornaments. Lies closest to Madhumad Sarang, which runs as a ‘komal ni only‘ version of the same melodic framework. 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. RmP(m)R; mPnPmR; RmPNS

Chalan: illustrative sequences – e.g. SN; NSR; RmP(m)R; RmPnP; RmPNS; RNSnP; nPmR; NS

• Ascents take shuddha Ni, and descents take komal ni (e.g. RmPnP; RmPNS; RNSnP) – and improvised passages often conclude with nPmRNS

• Shuddha Re is the most vital swara, used as a launchpoint and a stopping tone in both directions – and must be rendered in a stable, unoscillated fashion

• The Re-Pa vadi-samvadi axis is outlined with congruent slides (m\R; n\P) – but elongated R/P motions are rare to avoid the illusion of Malhar

• Ornaments tend to be rendered ‘quickly but clearly’, in straight, direct fashion – although Sa can be decorated more freely to release melodic tension (e.g. PNS(RSN)S; S(NSRSNS)nP)

• Closely associated with the heat of the afternoon sun – as well as with Lord Krishna (the ‘Brindabani’ title refers to the Vrindavan forests where Krishna spent his youth)

—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)

—Bhimsen Joshi (1990s?)—