Though its name suggests that this is the pure (shuddh) version of Saarang; and, therefore, the oldest of this group of ragas. But its history reveals that till early 20th century this raga did not enjoy a clear understanding and various musicians treated it differently. The most popular variety of the present era is discussed here.
Thhaat (parent scale)
Kalyan
Jaati:
Audav-Shaadav (5-notes in ascent; 6-notes in descent)
Vaadi:
Rishabh (R)
Samvaadi:
Pancham (P)
Swaras:
Omits Gandhaar (G) completely, employs both Shuddh and Teevra Madhyam (M and m), rest shuddh swaras
Aaroh (ascent):
S R m P N S’ (Western Notes: C E F# G B C)
Avaroh (descent)
S’ N D P M R S (Western Notes: C B A G F D C)
Key phrases:
S, R M R, S N.P., N.D.S N.R S, N.S R M R, m P, D P, m P N P, m P N S’R’S’, R’M’R’S’, N P M R S
Time:
Midday
Usually ragas belonging to Saarang group are assigned to Kafi Thhaat (parent scale); but Shuddh Sarang, due to all it shuddh swaras in company with Teevra Madhyam (m) is, very logically, assigned to Kalyan Thhaat. Some musicians employ Komal Nishaad (n), some omit Shuddh Dhaivat (D) while some take the liberty of deploying both the Mdhyams chromatically, one after the other. This raga’s uncumbersome, easy-going persona exudes peace.
Bibliography
1. Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
2. The Oxford Encyclopaedia of the Music of India
3. Abhinav Geetanjali by Pandit Ramashreya Jha ‘Ramrang’
Links
1. Vidushi Kishori Amonkar (vocal)
2. Pandit Jasraj (vocal)
3. Pandit Hariprasad Chaurasia (flute)
4. Kaushiki Chakraborty (vocal)
5. Kala Ramnath (violin)
Pandit Premkumar Mallick and Prashant Mallick perform a dhrupad in Raag Shuddh Saarang with Ravishankar Upadhyay (pakhawaj) at Darbar Festival 2007.
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