Brindaavani Sarang or Brindaabani Sarang, also known as raga Sarang, is a Hindustani classicalraga. It is also called Vridaavani Sarang. This raga falls under the category of Sarang ragas.
Theory
Brindabani Sarang is a Kafithaatraga. It was created by Swami Haridas. The associated mythology being that he brought Lord Krishna to earth by singing this raga who took the form of an idol which can still be seen in Mathura.
One of the famous Ragas for the Sarang raagang, it is a popular raag of this family, together with Shuddha Sarang, and Madhyamad Sarang.
The name Brindavani Sarang is a testament to its popularity in the region around Mathura.
The notes Ga and Dha are not used in this raga.
A characteristic of all Sarang is the way Rishab (Re) is sung. The Rishabh is not accorded embellishments, so it is sung without any meenḍ of adjacent swaras neither with any andolan. This preeminence of Re makes the swar the vadi of this Raga as also for all other varieties of this family (raagang).
Another dominant phrase is Sa - Ni - Pa, also used in many other ragas, notably the popular Kanhada family.
The distinguishing factor being that the Ni in Kanhada's S-N-P takes a kaṇ of the Pa (of uttarang), with a ghaseeṭa effect, whereas the Ni of Sa-Ni-Pa in Sarang is rendered pure.
Brindavani Sarang's classification in thaat Kaafi is peculiar as it uses the shuddha form of "Ni" in its Aaroha, whereas the komala form of "ni" and "ga" is the main characteristic of the Kaafi thaat. So it is possible to make a mistake in identifying its thaat as Khamaj.[1]
It is generally regarded as a raga of summer season.
Rasa
Shringar Rasa: The Rasa of Romance. It creates a romantic and mystic atmosphere.
Related Raga
Madhumad Sarang has the Shuddha Ni dropped or Varjit (excluded).[4] It is still considered a chanchal raga.
Megh malhar has same notes but it is Dhrupad anga raga and is serious in rendering, with a lot of meenḍ. Another distinguishing factor is that while Rishabh is used extensively in Megh Malhar (as also in Sarang), the Rishabh there takes a very strong meenḍ from Madhyam (Me), a salient in the singing of meenḍ-heavy Megh.
Bor, Joep (ed). Rao, Suvarnalata; der Meer, Wim van; Harvey, Jane (co-authors)The Raga Guide: A Survey of 74 Hindustani Ragas. Zenith Media, London: 1999.
