Shuddha Sarang Raag Description

Shuddh sarang is a common rag, popular with both vocalists and instrumentalists. Among the day time Raagas, Shuddha Sarang, a member of the Sarang Family, produces a strong and lasting impression. The Raag mood is at once menifested by the simultaneous presentation of both Madhyams followed by Rishabh in Avroh (M m R). Similarly the notes S ; ,N ,D S ,N R S are Raag Vachak. In this Raag S R M P N S is the usual Aaroh but sometimes P D N S is also allowed. In Avroh, Dhaivat is not a resting note however it is rendered in Meend from Nishad to Pancham touching Dhaivat like: N (D)P.

Madhyam Teevra is used primarily in Aaroh (M P N S’ or M P D N S’) and Shuddha Madhyam is used only in Avroh like: M m R S or ,N S R m R S. Shuddha Nishad is a vital and a resting note in the Mandra Saptak. Komal Nishad is sometimes rarely used like: M P n P M m R S. Following are the illustrative combinations which shows the Raag mood:

,N S R ; R m R ; S ,N (,D),P ; ,N ,D S ,N R S ; ,N S R m R ; M P ; P R m R ; S ,N S R S ; ,N S R m R M P ; R M P N (D)P ; P N S’ R’ S’ ; S’ R’ S’ N D S’ N (D)P ; M P ; M m R ; m R S ,N S R S ;

Raag Shyam-Kalyan is close to Raag Shuddha Sarang. The presence of Gandhar in Aaroh makes Shyam-Kalyan different from this Raag.

Prahar3 (12 pm - 3 pm)
Important AnuvaadiN
Tanpura TuningP
Other CharacteristicsShuddh Dha is vivadi, but is often used in avaroh as S'-N-D-P-M…
Similar Raagas
Popular Film Songs
Non-Film Songs

Performance by Veena Sahasrabuddhe

Composition: bada khayal

अायी सब मिल देहो
मुबारक बादियाँ
सब सुहागन मिल खेले

लावो री मालनियाँ
हरवा गुन्द लायी
सब नर नारी मिल खेले

The song depicts a joyful occasion on which men and women are dancing in a place decked with flowers.

Tal: Ektal (slow tempo)


4-13:Performance opens with a phrase typical to the Sarang family of rag-s – m \R. Note the sustained Re
15-23: Movements similar to the above, ending on the lower Ni, typical of Shuddh sarang
65: Movement from the lower Ni to natural Ma, descending down to Re, which is held with repeated touch of the Ma
72-82: Sharp Ma is approached, which merges smoothly in to natural Ma and further to Re. Note similarly how many phrases throughout the performance return to Re
98-103: A typical phrase -N – D S N R –
105-106: Glide from natural Ma to lower Ni
119-125: Similar movement again, followed by an ascending glide- N /m
134: Pa is reached and held after maintaining for some time the sharp Ma. Note the ending of the phrase – P \R m \R (141-146)
163-167: Both Ma together in a gliding movement – P M m \R
191: First part of the composition (sthayi). Note the accentuated beat (sam) of the 12 beat rhythmic cycle coinciding with a typical phrase – m \R (194-200)
205-208- Another characteristic phrase embedded in the composition – N – D S N R –
258: Improvisations in the lower half of the middle octave. Note the recurrence of  m \R and a stress on Re, followed by a movement ending on lower Ni (276-280)
311-357: Phrases include sharp Ma and reach Pa, and meander around the note
369: Melody ascends further to reach middle Ni. Note a variation in the refrain after arriving at the accentuate beat (410-415)
420: High Sa is in focus with movements including higher notes
510-519: Refrain of the second part of the composition (antara)
527-531: Movement descending down from high Re to middle Re via the sharp and natural Ma
562-618: Second part of the composition