In the third episode of our series on Hindustani raags that use two varieties (komal and shuddha, or shuddha and teevra) of the same swara ...
In the third episode of our series on Hindustani raags that use two varieties (komal and shuddha, or shuddha and teevra) of the same swara in chromatic succession, we move to Shuddha Sarang, a raag prescribed for the afternoon.
Like Jog and Lalit discussed in the previous episodes, Shuddha Sarang is also a very popular raag among vocalists and instrumentalists, and yet, it is unconventional as compared to most other raags in its chromatic use of shuddha and teevra Madhyam or the fourth. However, the chromatic use of these Madhyams is restrained in Shuddha Sarang and is often dependent on whether the bandish or composition that is being sung or played includes such an application.
Alternatively, some performers also introduce it as an element of surprise. But it is not a necessary element in this raag and usually teevra Madhyam is used in the aroha or the ascent and the shuddha Madhyam in the avroha or descent. Today, we will include tracks that include both ways of applying the Madhyams.
Patiala gharana maestro Bade Ghulam Ali Khan sings two compositions in Shuddha Sarang with no chromatic use of the two Madhyams. The compositions are set to a vilambit or slow 12-matra Ektaal and to a drut...
