Gaud Sarang Raag Description
Raag Gaud Sarang, though a daytime melody produces effect like the night melodies. The overall impact of the Raag is identical to that in Raag Kedar or Raag Bihag. (Both night time Raagas). The combination of G R m G P R S is considered Raag-Vachak i.e. characteristics of the melody.
Shuddha Madhyam is a prominent note which is Deergh Swar but not a resting note. Pancham and Gandhar are the resting note of the Raag. Like in Raag Kedar and Raag Hameer the Teevra Madhyam (M) is rendered Vakra as shown here:
S’ N D P ; M P D P ; M P ; M P G m ; R G R ; m G ; P M D P M P D P ; M P G m ; R G R ; m G ; P R S;
In Aaroh, alternative to M P D N S’ one can proceed like ,N S G m P N S’ with Shuddha Madhyam (m) as in Raag Bihag. The nature of this Raag is very complex but for rendering fast Taans particularly in Avroh, the Raag Vachak phrase (G R m G P R S) can be omitted and S’ N D P m G R S or S’ D P m G m R S may be taken. This Raag is full of Shringar Ras. Following are the illustrative combinations of the Raag:
S G R m G P R S ; G R m G ; P N D N D P m G ; G m P N S’ ; S’ ; D P m G ; M P M P ; G R m G ; P D P P ; S’ R’ S’ S’ ; S’ N D P m G ; R G R m G ; P R S ;
This rag can bring out a serious mood when performed in a slow tempo. However, it can also evoke a hopeful and energetic atmosphere in medium fast tempo (Thakur [Sangitanjali IV-2] 1957: 17). The zig-zag movements make it a difficult rag to perform in fast tempo.
Rag Chhayanat and Gaud sarang have some common phrases like P \R. However, there is a considerable difference in the melodic configuration of these tworag-s, such as an emphasis on Ga in Gaud sarang as against that on Re in Chhayanat.
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