Brindaavani Sarang orBrindaabani Sarang, also known as ragaSarang, is aHindustani classicalraga. It is also calledVridaavani Sarang. This raga falls under the category ofSarang ragas.

Brindabani Sarang is aKafithaatraga. It was created bySwami Haridas. The associated mythology being that he brought LordKrishna to earth by singing this raga who took the form of an idol which can still be seen inMathura. One of the famous Ragas for the Sarangraagang, it is a popularraag 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 notesGa andDha are not used in this raga. A characteristic of all Sarang is the wayRishab (Re) is sung. The Rishabh is not accorded embellishments, so it is sung without anymeenḍ of adjacentswaras neither with anyandolan. This preeminence of Re makes theswar thevadi 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 akaṇ of the Pa (ofuttarang), with aghaseeṭa 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 thekomala 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 asKhamaj.^[1]

This raga evokes thesringara rasa - romantic love.^[2]

Arohana: N S R M P N S'^[3]

Avarohana:S' n P M R S N S^[3]

Nisvara isShuddha inArohana andKomal in Avarohana.

Vadi:Rishabha (re)^[3]

Samavadi:Panchama (pa)^[3]

Ni Sa Re Ma Re Pa Ma Re Ni Sa

R M P n - PMR, M- R N S R-S

Thaat:Kafi Thaat^[3]

Madhyanah (noon), Afternoon.^[3]

It is generally sung as Rajasthani folksongs.

It is generally regarded as araga of summer season.

Shringar Rasa: The emotion of love, including spiritual love

Veer Rasa: The Rasa of Valour

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 Dhrupadanga raga and is serious in rendering, with a lot ofmeenḍ. 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 ofmeenḍ-heavy Megh.

• Kamalaptakula byTyagaraja
• Soundararaajam Asharaye,Swaminathena Samrakshitoham andRangapura Vihara byMuthuswami Deekshithar
• Aathma Nivedanam byThulasivanam
• Eke Mamathe Kottu byGopala Dasa inKannada
• Arige Vadhuvade andAada Pogona Baaro byPurandara Dasa
• Ranga Banda Brindavanadalli byVyasatirtha inKannada
• Ananda Mayage ByVadiraja Tirtha
• Yentha Mathramu byAnnamacharya
• Iko Node Ranganathana BySripadaraja
• Amburuhânanâ byKalyani Varadarajan
• Kaliyuga Varadhan byPeriyasami Thooran
• Venkatesha Natham by Gowrishankar Stapati
• Thillana in Brindavani byM. Balamuralikrishna
• Thillana in Brindavani byLalgudi Jayaraman
• Thillana in Brindavani by P. K. Rajagopala Iyer

Kannada:

• "Swami Devane Loka Palane (School Master)"
• "Kamalada Mogadole Kamalada Kannole (Hosa Itihaasa)"
• "Aatavenu Notavenu (Vasanta Geeta)"
• "Maduve Gandidu Nodamma (Addadaari)"
• "Pandharapuravemba Dodda Nagara (Dasara Pada)"
• "Pata Pata Gaali Pata (Aapta Mitra)"
• "Eesha Ninna Carana Bhajane Aase Inda (Bhajane)"
• "Kaashi Inda Bandanilli Vishvanaatha (Bhakti Geete)"
• "Yaava Shilpi Kanda Kanaso Neenu (Janma Janmada Anubandha)"
• "Barede Neenu Ninna Hesara (Seetha)"
• "Elli Ninna Bhaktaro Alle Mantralaya (Bhakti Geete)"
• "Kempadavo Ella Kempadavo (Ellindalo Bandavaru)"
• "Jagadisha Mallesha Sarvesha Goureesha (Baduku Bangaravayitu)"
• "Cheluvayya Cheluvo Taani Tandaana (Jaanapada)"
• "Kudurena Thandivni (Jaanapada)"
• "Kodagana Koli Nungitta (Tatva Pada)"
• "Kalita Hudugi Kudure Nadigi (Jaanapada)"
• "Nammoora Mandara Hoove (Aalemane)"
• "Adavi Deviya Kaadu Janagala (Rayaru Bandaru Mavana Manege)"
• "Hrudayave Ninna Hesarige (Belli Modagalu)"
• "Suvvi Suvvi Suvaalamma (Svatimuttu)"
• "Attitta Nodadiru (Bhavageete)"
• "Shivanu Bhikshakke Banda (Folk)"
• "Mutta Mutta Chinaari Mutta (Chinnaari Mutta)"
• "Bhaagyada Balegaara (Folk)"
• "Munisu Tarave Mugude (Bhaavageete)"
• "Harivaraasanam (Bhakti Geete)"
• "Esthu Saahasavanta Neene Balavanta (Bhakti Geete)"
• "Daasanaanu Visheshanaagu (Dasa Pada)"
• "Indu Shukravaara Shubhava Taruva Vaara (Bhakti Geete)"
• "Vaara Bantamma (Bhakti Geete)"
• "Bhaagyada Lakshmi Baaramma (Dasa Pada)"
• "Sadaa Kannale Olavina (Kaviratna Kaalidaasa)"
• "Beladingalaagi Baa (Mishra, Huliyahalina Mevu)"

• 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.

• SRA on Samay and Ragas
• SRA on Ragas and Thaats
• Rajan Parrikar on Ragas
• Film Songs in Rag Brindavani Sarang
• More details about raga Brindavani Sarang

• Hindustani ragas
• Janya ragas (kharaharapriya)

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