• Raag Shuddha Sarang •

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


A prominent early afternoon raga of the Sarang family, often said to evoke sringara. Ga is omitted, Dha is ornamental, and shuddha ma is introduced in avroh (always before Re, and sometimes adjacent to the tivra, e.g. MmR) – with Tanarang giving a pakad of NDSNRS (n.b. older variants of the raga also employed komal ni: used similarly as ‘tivra Dha’ in S Balachander’s Dhrupad-Carnatic rework). Despite its current-day fame, beloved by instrumentalists and vocalists alike, Bhatkhande noted that only a few artists of his era played it (~a century ago) – although the Sarang lineage itself stretches back much further, finding mention in Ramamatya’s 1550 Swaramela Kalanidhi and turning up in assorted ragmala paintings (either as a son of Shree or a ragini of Malkauns). Also refer to Bor’s bandish translation (“While I was swinging, a snake bit the tip of my finger…”), and an incredible rendition by Budhaditya Mukherjee – as well as Shyam Kalyan (the same scale plus Ga).


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Aroha: NSRMPNS
Avroh: SN, DPMPM, mRS, NS

Chalan: e.g. SNSR; RmR; SN; PNDS; NR; S; RmR; mP; PRmR; SN; NSR; S; NSRmRMP; RMPN; (D)P; PNSRS; RSN(D)P; RmR; mR(S)N; NS (Parrikar)

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—Debashish Bhattacharya (2013)—


[refrain, e.g. 4:03] R(m)R, MMP, (NR)SN, P(M)P, m\R, (m)RNS…

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• Classifiers •

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 | 32Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.


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.

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• Prakriti: Noor Sarang, Kedar

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–Swara Geometries–

Core form: SRmMPDNS
Reverse: SrgmMPnS
Negative: 3-2-1-4-2 (e.g. Bairagi)
Imperfect: 2 (Ma, Dha)
Detached: none
Symmetries: none
Murchanas: Kedar set

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–Global Translations–

Carnatic: ~Neelambari
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)

o • o • • o o o • o • o o


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• Tanpura: Sa–Pa (+Re)
• Names: Shuddha Sarang, Suddha Sarang

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—Budhaditya Mukherjee (2016)—

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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!

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