Gaud sarang

Gaud sarang is one of the best examples of a rag with zig-zag melodic movements. Some musicians maintain that the name is misleading and it has no element of Sarang in it ( Rao [Raga nidhi II] 1964:91)

Tone material: S R G m M P D N

Ga and Pa are important notes in this rag, while Dha is rather weak. Ga can be the starting note as well as the ending note for many phrases. Pa can also be treated as a resting note. Common approaches to high Sa are P S, P N D S and P N D S N R S. However, in the fast passages when it becomes difficult to maintain the complex order of the descending melody, musicians also use M P N S and M P N S R S. S N R S and P M D P are complementary phrases.

Some characteristic phrases:
S G R m G-
R G R m G P \R S
PDMP m \G
PDMP /S
N S DP m-G

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 two rag-s, such as an emphasis on Ga in Gaud sarang as against that on Re in Chhayanat.

Time: afternoon (Bhatkhande [KPM IV] 1976 p.141)

Further listening:
Bhimsen Joshi EASD 1515
Padma Talwalkar CD A920 – Afternoon ragas, vol. I
Tarana by Rashid Khan
Songs in Gaud sarang

Performance by Manjiri Asanare

Composition: chhota khayal

पियु पल न लागी मोरी अखियाँ
अाली बिन पियु मोरा जिया घबराये
चैन नहीं अाये घडी पल छिन दिन रैन

वीर पथकवा ले जा सन्देसवा
पिया संग (सन) कहियो हमरी व्यथा
तुमरे दरस को बिरहा बेगल

The song text depicts a love-lorn maiden.

Without him I cannot rest. Every moment my heart longs to see him. Please go and convey to him the pangs of my heart and plead with him to end this separation.

Tal: Tinal (medium fast tempo)

Performance:

4-13: Performance opens on Sa, the tonic. Note an ornamentation (murki) on Sa (6-7) & a clear touch of note below (9) used to sustain the Sa
17-27: G-m R G R m G, a typical phrase emphasising Ga
28-40: Variation of the above phrase, again emphasising the Ga
42-50: The next phrase descending from Ga includes a murki (R NRSS 44-45). Note the touch of lower Ni to sustain the Sa
54-57: A similar ornamentation (murki) MDPP (54-55) concluding with P /S a typical phrase to approach Sa
64-77: P phrase similar to that around 17-27, emphasising Ga and ending with a typical phrase R G R m G
79-90: Now the progression includes Pa. Note the approach from Sa to Ga and then on to Pa. Mark the ornament on Sa and the touch of Ma for Ga, and also that of sharp Ma for holding Pa
94-102: Characteristic phrase repeated G-m R G R m G. This phrase, especially the tail end – G R m G recurs several times throughout, including the composition
103-106: Another typical phrase P \R
120: Composition commences from the seventh beat of the 16-beat rhythmic cycle and the accentuated beat (sam) coincides with Ga
151: The second line begins on the 6th beat
189: The second part of the composition (antara) begins just after the 9th beat
203: The concluding section of the composition
230-239: Improvisations begin with a phrase emphasising Ga. In the second half of the phrase note the typical ending – m R G R m G P \R S
246: The next phrase brings Pa in focus. Note again the ending G R G R m G
281-289: Yet again R G R m G P \R S
292: The progression descends down to the lower octave. Note the descent to and from the lower Pa to Sa (293-295)
317: Explorations include the middle Pa and high Sa. Mark the ending phrase – R G R m G
339-349: The high Sa is sustained and the phrase returns to the composition
366-374: The high Sa is sustained again but this time the phrase also includes a note above
411-418: The typical phrase R G R m G P \R S in the high octave
450-463: Phrases are slightly faster and include the lyrics of the composition (bol)
533-539: Yet again, R G R m G P \R S in the high octave