Shuddh sarang is a common rag, popular with both vocalists and instrumentalists.
As the name suggests, it is regarded as a rag of the Sarang family.
Tone material: S R m M P D N
The ascent uses only sharp Ma, whereas the descent also includes natural Ma in a distinctive manner. It can occur in conjunction with Re as m \R, which is a characteristic glide common to rag-s of the Sarang family. Natural Ma can also be used in any phrase provided it is immediately followed by Re, as in N S R m R. Even in descending phrases where natural Ma occurs after Pa, it is followed by Re. Sharp Ma and natural Ma are generally not be intoned in immediate succession without the occurrence of Re or Pa in between. However, many musicians do take liberty with this norm, as also seen in the recording here.
Re and Pa are important notes while Ni, particularly the lower Ni, is an important note for ending the descending phrases. Besides, it could also be the starting note for the ascent.
Dha is included only in the descent and also obliquely in phrases such as M P D M P and N D S N.
Some characteristic phrases:
m \R N S N
N D /S N R S
R M P D M P
M P R m \R
Although there is a variety of this rag using flat Ni in addition to the above notes, it is not common today (Shah [Sarang ke prakar] 1986: 114).
The absence of Ga in Shuddh sarang keeps it distinct from rag Shyam kalyan (vide), whereas the inclusion of Dha and sharp Ma keeps it distinct from the other rag-s of the Sarang group.
Time: early afternoon (Bhatkhande [KPM IV] 1978:173)
Performance by Veena Sahasrabuddhe
Composition: bada khayal
अायी सब मिल देहो
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