Raag Gaud Sarang

Swar	Both Madhyams. Rest all Shuddha Swaras.
Jati	Sampurna - Sampurna Vakra
Thaat	Kalyan
Vadi - Samvadi	Gandhar - Dhaivat
Time	3rd Prahar of the Day (12PM to 3PM)
Vishranti Sthan	G; P; S'; - S'; P; G;
Mukhya Ang	S G R m G P R S ; m G P ; D P S' ; S' D P m G ; G R m G P R S ;
Aaroh - Avroh	S G R m G D P N D S' or ,N S G R m G; P M D M P S'; - S' N D P M P D P G R m G P R S or S' N D P M P m g ; m g R m G P R S;

Raag Gaud Sarang, though a daytime melody produces effect like the night melodies. The overall impact of the Raag is identical to that in Raag Kedar or Raag Bihag. (Both night time Raagas). The combination of G R m G P R S is considered Raag-Vachak i.e. characteristics of the melody.

Shuddha Madhyam is a prominent note which is Deergh Swar but not a resting note. Pancham and Gandhar are the resting note of the Raag. Like in Raag Kedar and Raag Hameer, the Teevra Madhyam (M) is rendered Vakra as shown here:

S’ N D P ; M P D P ; M P ; M P G m ; R G R ; m G ; P M D P M P D P ; M P G m ; R G R ; m G ; P R S;

In Aaroh, alternative to M P D N S’ one can proceed like ,N S G m P N S’ with Shuddha Madhyam (m) as in Raag Bihag. The nature of this Raag is very complex but for rendering fast Taans particularly in Avroh, the Raag Vachak phrase (G R m G P R S) can be omitted and S’ N D P m G R S or S’ D P m G m R S may be taken. This Raag is full of Shringar Ras. Following are the illustrative combinations of the Raag:

S G R m G P R S ; G R m G ; P N D N D P m G ; G m P N S’ ; S’ ; D P m G ; M P M P ; G R m G ; P D P P ; S’ R’ S’ S’ ; S’ N D P m G ; R G R m G ; P R S ;

Raag Gaud Sarang Bandishen

All the following bandishen are written and composed by Acharya Vishwanath Rao Ringe ‘Tanarang’ and are published in his book “Acharya Tanarang Ki Bandishen Vol 1”. This book contains the notation and audio of 389 Bandishen from 31 Raags. All these bandishen are sung by Shri Prakash Vishwanath Ringe. For more information and to buy this book, please contact us.

1	Madhya Lay Khyal - Mahima Kahi Na Jaye Taal - Jhaptal Madhya Lay Theme - Shri Krishna - Mahima Varnan
2	Chota Khyal - Mahadev Shiv Shankar Taal - Trital Drut Theme - Shri Shankar Shambhu
3	Chota Khyal - Baje Re Ghoongharwa Taal - Ektal Drut Theme - Shri Krishna - Murlidhar
4	Chota Khyal - Barani Jay Nahi Shobha Taal - Trital Drut Theme - Shri Krishna - Mahima Varnan
5	Chota Khyal - Hamari Preet Tum Taal - Trital Drut Theme - Virah Ras
6	Chota Khyal - Sagri Rain Ke Jage Taal - Trital Drut Theme - Virah Ras
7	Tarana - Dre Tan Dre Tan Tan Derena Tadare Dani Taal - Trital Drut Theme - Suitable for Dance
8	Tirvat - Kdan Tirkit Tak Dhir Kit Dha Dha Dha Taal - Trital Drut Theme - Suitable for Dance
9	Sargam - Pa Re Sa Ni Sa Ga Re Ma Ga Taal - Trital Drut

Raag Gaud Sarang By Shri Prakash Vishwanath Ringe

Bada Khyal – Tero Sumiran Karun Mai Ram, Taal – Ektal Madhya Lay
Chota Khyal – Madi Khabaran Na Lini Yaar Ve, Taal – Ektal Drut