Raga Gaur Sarang (early afternoon)
The early afternoon ragas are becoming rare because almost all of the concerts happen in the evening. One of the most important groups in Indian Classical music is the Sarang family, namely, Madhumat S,Vrindavani S, LankadahanS, Bhim S, Barhamsa S,Sudha S, Gaur S, Megh S, SamantS, Miakhaini, S. etc. about 20 commonly known ragas .They are all beautiful and each has a distinctive character. Some of them are complex so learning, listening and analytical approach is needed to handle them with ease. The prakriti (nature) of most of them is Chanchal (playful).
Time :1pm to 3:30pm
Arohan : SGRMG PmDPNDS / SGRMGPS.
Avarohan: SDNPDMPGMRGRMGPRS / SNDPMGMRGAMGPRS / SNDPmPMGMRGRMGRS.
While playing this raga a couple of things to remember are not to get close to Nat Ang. Angs of Behag and Bilawal are used in a suble way, Also balance it with M, R, P (Sarang Ang is not used in Gour Sarang in an obvious way).
One may spend time and sort of master any such complex raga but still may be critcized. The only way to make an instrumental raga recital soul touching is to internalize a raga vocally.
Performance in front of the learned audience is always a challenge and a serious performer enjoys this.
Ragas were composed many many years ago by their respective composers and most of it was orally transmitted from disciples to disciples up until the last 100 years. There are books from 2000BCE to 200CE mentioning the ancient form on music with Slokas. The books Bharat Natty Shashtra, Raga Tarangani, dated back to BC.
Indian Classical music has a well defined discipline but is not rigid. It is like an iron cup lying under the bed of the sea for 1000s of years, it gets things collected on its’s surface but nothing spoils the character of the cup. With all the Persian, Mughal, Turkish, and Chinese influences, we still have a great heritage that works properly.
All I can say that I am grateful to my Guruji to open my eyes to this music and teach me how to to practice and what to look for while learning.