Supposedly a heady blend of the ang-s (features) of Gaud and Saarang, this popular raga is known for its vakra-gati or meandering gait.Like several other ragas named after a specific region, raga Gaud represented a province of Bengal. Raga Gaud is extinct now but it lives on in parts. Gaud Saarang is one such example.
Thhaat (parent scale)
Kalyan
Jaati:
Vakra-Sampoorn (twisting –heptatonic)
Vaadi:
Gandhar (G)
Samvaadi:
Pancham (P)
Swaras:
Employs both Shuddh and Teevra Madhyams (M and m), rest shuddh swaras
Aaroh (ascent):
S, G R M G, P m D P, N D S’ (Western Notes: C, E D F E, G F# A G, B A B C)
Avaroh (descent)
S’ D N P, D m P G, M R, G R, P, R S (Western Notes: C A B G, A F# G E, F D, E D, G, D C)
Key phrases:
N.S R N.S, D.P.S, N.S G R M G P, D m P S’, S’R’S’, G’R’M’G’P’R’S’, S’D N P, P D m P, M G M, R M G, P R S
Time:
Afternoon
Though most of the Saarang group of ragas are assigned to Kafi Thhaat (parent scale), Gaud Saarang is kept in Kalyaan Thhaat because this emplys all shuddh swaras along with Teevra madhyam. Its Pancham (P) sways on both sides; i.e. PmDP. The raga flows like a twisting and turning river; as such, it demands pace. Extra slow tempo cannot do justice to its zestful character.
Bibliography
1. Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
2. The Oxford Encyclopedia of the Music of India
3. Abhinav Geetanjali by Pandit Ramashreya Jha ‘Ramrang’
4. Rajan Parrikar Music Archive (Raga Gaud Sarang)
Links
1. Ustad Faiyaz Khan (vocal)
2. Pandit D V Paluskar (vocal)
3. Ustad Ali Akbar Khan (sarod)
4. Pandit Mallikarjun Mansoor (vocal)
5. Pandit Bhimsen Joshi (vocal)
Ustad Amjad Ali Khan performs Raag Gaud Saarang on the sarod.
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