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Bani Mahala 9 - Rag Sarang

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Rag Sarang
Out of the thirty-one principal rags
Bani Footnote A rag is a melodic framework for improvisation and composition in Hindustani music akin to a melodic mode in western music. It consists of a specific set of notes and their combination used in a particular order to produce a melody. A rag also provides a framework of rules with the help of which a musician can improvise to produce different melodies by infinitely reordering a given set of notes specifically prescribed for that particular rag. Every rag has an array of melodic structures with musical motifs that is capable of evoking distinct emotions. [https://www.britannica.com/art/raga]
in the Guru Granth Sahib, Rag Sarang (a musical mode) has been designated twenty-sixth place in the sequence. In Guru Granth Sahib two word forms are used for this rag: 'Sarang' and 'Sarag.' Under this rag, the Bani of six Gurus and four Bhagats is recorded from pages 1197 to 1253 of the Guru Granth Sahib. It includes thirty-eight Sabads by Guru Nanak Sahib, nine by Guru Angad Sahib, twenty-six by Guru Amardas Sahib, fifty-four by Guru Ramdas Sahib, one hundred and forty-seven by Guru Arjan Sahib, four by Guru Teghbahadar Sahib, three each by Bhagat Kabir and Bhagat Namdev, and one each by Bhagat Surdas and Bhagat Parmanand.
Bani Footnote Bhai Joginder Singh Talwara, Bani Biura, part one, page 103-110.


Rag Sarang is a tranquil, simple, melodious, and popular rag. It has been popular in Hindustani music for centuries. It is loved by the folk singers of Panjab and Rajasthan. The melodious tunes of this rag are commonly heard on the musical instrument of the snake-charmers, and the melodies of many folk songs are based on this rag.
Bani Footnote Prof. Tara Singh, Sri Guru Granth Sahib Rag Ratanavali, page 283.
For example, in the below given folk-songs, the description of this rag is clearly visible:
māhīā! maiṁ lauṁg gavā āī āṁ. sohṇīe! nī kitthe gavā āī eṁ?
And,
māeṁ nī māeṁ terī lāḍalī, nī terī bālaṛī, calī mār uḍārī.
Bani Footnote O Beloved! I have lost my nose-pin/stud. O Beautiful! Where have you lost it? Mother, O mother! Your darling, your young girl, is going to fly away.


This rag is also called Brindabani Sarang in the Hindustani musical tradition. Some people think that Rag Sarang is very popular in Brindavan (Mathura), which is known for Krishna’s plays, thus resulting in this rag getting the name Brindavani Sarang.
Bani Footnote Prof. Kartar Singh, Gurmat Sangit Darpan, part two, page 286.
In Hindustani music, many rags which have developed from this rag are in use, for example Shudh Sarang, Gond Sarang, Mian Ki Sarang, Vadhans Sarang, Madhmad Sarang, Mant Sarang, Lankadhan Sarang, and Sur Sarang.

In Gurmat Sangit (Sikh music) while it is traditionally obligatory to sing Rag Basant while doing kirtan
Bani Footnote Singing of spiritual compositions in prescribed musical modes (rags).
from mid-January (Maghi) to mid-March (Hola-Mohalla), there is also a tradition of not singing Rag Sarang during this time.
Bani Footnote Dr. Kanwaljit Singh, Sikh Sacred Music, page 172.


The origin of Rag Sarang is believed to be from Kafi that.
Bani Footnote A ‘that’ is a group of notes. Its primary function is to provide a basis for the creation, organization and classification of rags in the Hindustani music.
Though some scholars consider it a rag of Khamaj that, the belief pointing to Kafi that is more popular.
Bani Footnote Prof. Tara Singh, Sri Guru Granth Sahib Rag Ratanavali, page 283.
Bhai Kahn Singh Nabha has also considered Rag Sarang to be of aurav-sharav class (jati) from Kafi that.
Bani Footnote Bhai Kahn Singh Nabha, Mahan Kosh, page 186.
In the ‘Ragmala’ recorded in the Guru Granth Sahib, it is considered the son of Srirag:
sālū sārag sāgrā aür goṁḍ gambhīr. asṭ putra srīrāg ke gunḍ kumbh hamīr. -Guru Granth Sahib 1430.

In present times, it is believed that Rag Sarang is derived from Kafi that, and the class of this rag is aurav-aurav. Prof. Tara Singh, Bhai Avtar Singh and Bhai Gurcharan Singh, Dr. Gurnam Singh, and Rag Nirnayak Committee
Bani Footnote Principal Sukhwant Singh, Guru Nanak Sangit Padhati Granth, part-1, page 81.
have also given the popular description of this rag from aurav class, which is given below:

Description of Rag Sarang
That: Kafi.
Svar (notes): both Ni, rest all notes are normal/natural (shudh).
Varjit Svar (forbidden notes): Ga and Dha.
Jati (class): aurav-aurav.
Vadi (prominent note): Re.
Samvadi (sub-prominent note): Pa.
Aroh (ascending scale): Sa, Re Ma Pa, Ni Sa (tar saptak - upper octave).
Avroh (descending scale): Sa (tar saptak - upper octave) Ni (komal - flat) Pa, Ma Re, Ni (mandar saptak - lower octave) Sa.
Mukh Ang/Pakar (Main Part): Ni (mandar saptak - lower octave) Sa Re, Ma Re, Pa Ma Re, Ni (mandar saptak - lower octave) Sa.

Singing time
Third quarter of the day.