This rag, allegedly a favourite of the Ahir tribe, may be the prototype of the Sarang family (Thakur [Sangitanjali I-I] 1977: 35). It is often referred to simply as Sarang and is popular not only in the classical music but also in folk traditions of various regions of India (Shah [Sarang Ke Prakar] 1986: 1)
Tone material: S R m P n N
Re and Pa are the important notes while n \P and m \R are complementary glides, characteristic of this rag.
Some characteristic Phrases:
R m P n \P
P \R m \R N S
Some years back Dha was used in the rag. In fact Bhatkhande reports that during the 1918 conference held at Delhi to discuss the current forms of rag-s, musicians agreed to retain this note along with the natural and flat Ni ([KPM II] 1952: 265). However, as evident from the recording, this note is altogether omitted in today’s interpretation of Brindavani sarang.
There are many varieties of Sarang; the best known are Brinadavani sarang, Madhmad sarang, Gaud sarang (vide) and Shuddh sarang (vide). Madhmad sarang uses only the flat Ni and has more stress on Ma than in Brindavani sarang.
There is some similarity between rag Megh and Brindavani sarang. However, in Megh the glide R /P is emphasised, whereas Sarang has P \R m \R.
Time: afternoon (Bhatkhande [KPM II] 1952: 265)
Bismillah Khan EASD 1351
Bhimsen Joshi EASD 1515
Pannalal Ghosh MOAE 5006
Parrikar on Brindavani sarang
Performance by Ulhas Kashalkar
Composition: chhota khayal
साजी (सजी) रे दुलहन साजी
साजी फूलन सेज
फूलवन बिन रतिया
हिल मिल पिया संग जिया पिया डोले
शादी के रंग बाजे मृदंग अति हल रे
प्यारी दुलहनिया शेला गुन्डाला
बनी बन के गले हार पहनाया
बाजे कंगना बाजे कगवा अति हल रे
The song text describes a wedding scene with a decked up bride, a bed decorated with flowers and the music of mridang, which is a double barrel drum regarded as the predecessor of the tabla. The charming bride has worn a fine garment. She exchanges garland with her groom as a symbol of her commitment to him. On this occasion her bangles as well as the birds make music.
Tal: Tintal (fast tempo)
3.5-9.5: The performance opens with M \R, a characteristic phrase which includes lower Ni before settling on Sa, the tonic. Note the ornamented Ni (6-7)
11-17: The melody descends to the lower Pa with another typical phrase n\P (15-17)
31-34: The glide P \R with a touch of Ma followed by a swinging movement between Re and Ma
40-50: Pa is approached and is kept in focus by sustaining it. Note the momentary touch of Ni (46 & 48)
59.5-61.5: R /P \mR m R
67-73: Ascending movement includes natural Ni and reaches high Sa.
74-76: The melody shoots to high Re and starts descendin
79-83: Note a smooth glide m nP /mS followed by n \P \mR
90: First line of the composition.The accentuated beat (sam) coincides with Re
115: Second line of the composition
120: Third line of the composition sung twice
129.5: The concluding line of the first part (sthayi)
147-151: Pa is sustained and juxtaposed with Re
152-158: Variation of the above phrase this time including flat Ni, the phrase ending on the lower natural Ni.
206: Pa, one of the important note in this rag comes in focus
217.5: Fast movement quickly leading to natural Ni
242.5: The first part of the composition is repeated before taking up the next part
271: The first line of the second part of the composition (antara) is presented
280.5: The second line follows twice
290: The concluding line of the second part (antara)
301: Tempo increases and elaborations are presented keeping in focus the high Sa and the notes beyond