The Sarang Family

[Rajan P. Parrikar]

Namashkar.

The Sarangs are rAgas of the early afternoon. Their
provenance is in the folk music of the land, and their
effective articulation in the classical theatre demands
acquaintance with their rustic essence. The germ of this
group is embodied in rAgAnga sArang and it is to this
widely loved community in the Hindustani society that
we devote the current expose'.

First, some preliminaries:

- Gaud Sarang is not included in this selection because
there is no sArang-anga in it. If the publication "Raga
Guide" asserts otherwise then the authors have erred.
The rAga has been treated earlier and the reader is
referred to the Sawf archive.

- The aim here, as in the earlier pieces, is to enucleate
the rAgAnga and illuminate the major highways in the rAga.
It is not my intention to take you down every little bylane
and clutter the page with stultifying detail. Several sArang
prakArs disclose superficial variance across gharAnA and
regional borders as the clips will testify later. I do not
propose to remark on every idiosyncrasy contained in a
rendition. The assumption is that the curious reader
will be motivated enough to further the inquiry on his own.

- This feature will be expanded with additional clips (most
of them hard to find) and placed on the Sawf page at
http://www.sawf.org on Monday, Oct 30, 2000. The Sawf girls
are a demanding lot; what's a docile, meek and sensitive man
to do but comply?

Raga Sarang
===========
Raga Sarang is today considered the flagship rAga of
Raganga Sarang. It is also known as Brindavani Sarang, an
indicator of its popularity in the Mathura region. Throughout
this causerie M will represent the shuddha madhyam.

The rAgAnga sArang kernel is embedded in the following
tonal cluster: R M P (M)R, n P M R, S. Additionally, if the
rAga contains the shuddha nishAd as in Brindavani, we have:
N' S R, R M R, N' S. For the komal nishAd-only rAgas such as
Madhmad Sarang, n replaces N.

The key idea above - and every Sarang wears it on its sleeve -
is the treatment accorded the rishab. The R here is always
sthira (i.e. unoscillated, not Andolita) and independent. It is
the vAdi, the most important nyAsa swara, in both the ascending
and descending movements. This is later demonstrated
magnificently by Pandit Ramashreya Jha "Ramrang."

The nominal Aroha/avarohana set is:
S R M P N S"::S" n P M R S

A sample chalan obtains as follows:

S, N', N' S R, P (M)R, n P M R, N', S

The prayoga of shuddha nishAd in ascent and the komal nishAd
in descent in Brindavani Sarang separates it from Madhmad.
They share the rest of the rAga-lakshaNAs. Also, the shuddha
dhaivat is occasionally and modestly (alpa-pramANa) used by
a few in avarohAtmak phrases, either as a kaNa to the komal
nishAd or to inject a vivAdi dosha. Such usage is observed
in old dhrupads.

All the traditional sArang prakArs are variations around the
central ideas enunciated above. Likeness of the sArang-anga
is felt in other important rAga families, namely the
malhArs and the kAnaDAs. Territorial integrity and identity
are defended by appropriate swara-ucchAraN and rAgAnga bheda.

Pandit Vishnu Narayan Bhatkhande's exegesis "Hindustani
Sangeet Paddhati" gives a detailed account of the Sarangs.
He remarks on the confusion prevailing in the early 20th C
apropos of Brindavani and Madhmad Sarang. The bone of
contention was the nishAds - which type went into which
rAga. The au courant consensus awards Brindavani Sarang
both the nishAds and Madhmad only the komal nishAd.

Earlier the connection of the Sarangs with folk music was
asserted; we now adduce the requisite exhibits establishing
it. The gestalt of the rAgAnga is best experienced in these
melodies. The encounters later segue into the demesne of
classical proper.

The choice for the opener is automatic. A late 1920s collector's
item of the Indian national song "Vande Mataram" rendered by
Vishnupant Pagnis -

http://www.parrikar.prohosting.com/sarang/vandemataram.ram

I understand that Pagnis eventually died in a mental asylum.

Lata Mangeshkar's domination of the Sarangs is consummate,
as seen in the following sequence of four gems.

The RANI ROOPMATI (1959) bandish bring together her
extraordinary talents. Music: S.N. Tripathi, Lyrics: Bharat
Vyas, "AjA AjA bhaNwara" -

http://www.parrikar.prohosting.com/sarang/aajaa.ram

Film: SANSAR (1951); Music: Emani Shankar Sastry,
M.D. Parthasarathy, B.S. Kalla; Lyrics: Pandit Indra;
"pyArA munnA humArA" -

http://www.parrikar.prohosting.com/sarang/pyarahumara.ram

Film: BHABHI (1957); Music: Chitragupta; Lyrics: Rajinder
Kishen; "kAre kAre bAdarA" -

http://www.parrikar.prohosting.com/sarang/kaare.ram

Film: NAGIN (1954), Music: Hemant Kumar; Lyrics: Rajinder
Kishen; "jAdugar saiNyAN" -

http://www.parrikar.prohosting.com/sarang/jadugar.ram

Who better than O.P. Nayyar to showcase the folk music of
Punjab which draws liberally on the Sarangs? An Asha-Rafi
romp from KASHMIR KI KALI; Lyrics, S.H. Bihari; "hAi re hAi" -

http://www.parrikar.prohosting.com/sarang/balleballe.ram

Another Punjabi contribution by the Punjabi diva Noorjehan.
"hA'ye dilbar dildArA" -

http://www.parrikar.prohosting.com/sarang/noorjehan.ram

From an even earlier era springs this beautiful number
by Khursheed. The film, TANSEN (1943). D.N. Madhok's lyrics
are worked on by master tunesmith Khemchand Prakash; "ghaTA
ghanghor" -

http://www.parrikar.prohosting.com/sarang/ghata.ram

On the heels of that number is Uma Devi (better known as
Tun Tun) in the 1948 film CHANDRALEKHA. Music: S. Rajeshwar
Rao, Lyrics: Pandit Indra; "mana bhAvana" -

http://www.parrikar.prohosting.com/sarang/manbhawan.ram

RANI ROOPMATI was a Sarang orgy of sorts. Here's another
one, by Rafi and Asha; "jhananana jhan" -

http://www.parrikar.prohosting.com/sarang/jhananana.ram

Yet another vintage number from the older times, by the
Punju songstress Surinder Kaur. The film, SUNAHERE
DIN (1949), Lyrics, D.N. Madhok, Music: Gyan Dutt;
"tum sang akhiyAN lagAke" -

http://www.parrikar.prohosting.com/sarang/tumsang.ram

We conclude the Sarang folkfest with the popular Rafi-Asha
number from DIL DIYA DARD LIYA, tuned by Naushad to Shakeel
Badayuni's: "sAwan Aye yA nA Aye" -

http://www.parrikar.prohosting.com/sarang/sawan.ram

Each of the preceding clips reveals a rustic facet or two
about Sarang. The classical selection kicks off with a
traditional dhrupad-anga composition, delectably presented
by Bhimsen Joshi, "tum raba tum sAheb tum ho kartAra." -

http://www.parrikar.prohosting.com/sarang/bhimsen_sarang.ram

A cheez composed by Agrawale Faiyyaz Khan "Prempiya" and
executed to perfection by Basavraj Rajguru: "sagari umariyAN
mori" -

http://www.parrikar.prohosting.com/sarang/rajguru_sarang.ram

Among the great Gwalior masters of the early 20th C was
Ramkrishnabuwa Vaze. Very little of his life is documented,
as is the case with many Indian greats. In the West, utter
mediocrities are routinely enshrined in biographical tomes.
We, on the other hand, are content with writing a sketch or
two. This state of affairs can be easily changed by
inculcating in Indian children the admirable Western trait
of never letting lack of knowledge get in the way of writing
books. Vazebuwa brought to his gAyaki certainty and an
attitude. Both are on display in this scintillating tarAnA -

http://www.parrikar.prohosting.com/sarang/vazebuwa_sarang.ram

Sarang has migrated southwards and is quite popular with the
Karnataka musicians. A sampler of a Karnataka interpretation
from a concert recording of flautist K.S. Gopalakrishnan -

http://www.parrikar.prohosting.com/sarang/ksg_sarang.ram

Watch out for the Sawf feature in a week. We will have more
offerings including a Sarang dhrupad by a senior Dagar dude.

Raga Madhmad Sarang
===================
Madhmad Sarang has much the same rights as Brindavani to
claim the rAgAnga rAga slot. Almost all the lakshaNAs are
identical to Brindavani. The difference is that Madhmad is
a single nishAd - n - rAga. In Karnataka music Raga
Madhyamavati shares the same scale. A comment from
Karnataka afficionados is welcome regarding Madhyamavati.

The Madhmad spirit pervades the immortal S.N. Tripathi
composition from RANI ROOPMATI. Those were the days when
composers intimately knew the ropes of their metier. Mukesh
delivers: "Aa lauT ke Aja mere meeta" -

http://www.parrikar.prohosting.com/sarang/aalautke.ram

We now come to the most important clip of this article from
the point of view of understanding the subtleties of the sAranga
rAgAnga. This monologue by Pandit Ramashreya Jha "Ramrang"
also skirts the allied territory of the kAnaDAs and the
malhArs. What separates Madhmad Sarang from the scale-congruent
Megh is beautifully demonstrated. Megh is a meeND-pradhAn rAga
with an Andolita rishab. Megh Malhar is another entity, with a
brightened M along with the M R P malhAr molecule. Jha-sahab
holds forth for 14 uninterrupted minutes and accomplishes what
no reams of the written word can. For those handicapped by
language it is hoped you will have someone to translate the
proceedings -

http://www.parrikar.prohosting.com/sarang/jha_sarangspeak.ram

The swarasmith par excellence, Bismillah Khan, at play in Madhmad -

http://www.parrikar.prohosting.com/sarang/bismillah_madhmad.ram

Patiala's Fateh Ali Khan in a kHayAl -

http://www.parrikar.prohosting.com/sarang/fateh_madhmad.ram

A virtuoso display by Mallikarjun Mansur winds up the Madhmad
round -

http://www.parrikar.prohosting.com/sarang/mansur_madhmad.ram

Raga Shuddha Sarang
===================
Probably the most popular Sarang prakAr on the concert
circuit today. Raga Shuddha Sarang employs both the shuddha
and teevra madhyam. The shuddha nishAd is allocated a vital
nyAsa sthAna in the mandra saptaka. A large number of
compositions place their sam on this nishAd. The komal
nishAd is either eliminated or plays a diminished role,
usually in an avarohi sanchAri either tied to the shuddha
dhaivat or in a declining n P M R movement. The teevra madhyam
features primarily in the Arohi passages. The avarohi slide
m-->M is exceedingly pleasing.

Encapsulating the above thoughts and recalling the sAranga-
anga characteristics, samples passages may be formulated:

- S, N' S R, R M R, S N', P' N' D' S, N' R, S

- R M R, m P, P R M R, S N', N' S R, S

- N' S R M R m P, R m P N, (D)P, P N S" R" S", R" S" N (D)P,
R M R, M R (S)N', N' S

The movie PRIVATE SECRETARY (1962) carried a lovely Lata
Mangeshkar number executed to near-perfection. Music, Dilip
Dholakia, Lyrics, Prem Dhawan; "sANware AjA pyAra liye" -

http://www.parrikar.prohosting.com/sarang/sanware.ram

A take on the popular Shuddha Sarang mukhDA found in
traditional bandishes such as "jA re bhaNwarA door"
or Faiyyaz Khan's "ab mori bAta," from the film CHANDI
KI DEEWAR (1964). Music is by N. Datta (a vast bong conspiracy
to shamelessly claim this gifted fellow from Goa as their
own was fearlessly exposed some years ago), Sahir wrote the
lyrics; The patron saint of losers in love, Talat, whose
claim to fame is a palindromic name, teams up with Asha:
"lAge tose naina"

http://www.parrikar.prohosting.com/sarang/lagetose.ram

Mohammad Rafi, Chitragupta, Majrooh in NACHE NAGIN BAJE
BIN (1960), the final item in the Shuddha Sarang 'light' round;
"leke sahArA tere pyAr kA" -

http://www.parrikar.prohosting.com/sarang/lekesahara.ram

Jha-sahab's composition in Shuddha Sarang is set to roopak tAla
and places the sam on the madhya saptaka shuddha nishAd:
"dharani dharo" -

http://www.parrikar.prohosting.com/sarang/jha_shuddha_vil.ram

The Atrauli-Jaipur veteran, Padmavati Shaligram, sings their
beautiful composition "E tapana lAgi gaili so balmA morA" -

http://www.parrikar.prohosting.com/sarang/shaligram_shuddha.ram

Basavraj Rajguru's assay of this traditonal bandish is
first-rate: "jAre kagawA" -

http://www.parrikar.prohosting.com/sarang/rajguru_shuddha.ram

Shuddha Sarang is synonymous with this cheez: "jA re bhaNwarA
doora." Hirabai Barodekar -

http://www.parrikar.prohosting.com/sarang/hirabai_shuddha.ram

I can hardly resist inserting this Bismillah clip -

http://www.parrikar.prohosting.com/sarang/bismillah_shuddha.ram

Vijay Raghav Rao's flute brings closure to the S-Sarang fest -

http://www.parrikar.prohosting.com/sarang/vrr_shuddha.ram

Raga Miyan ka Sarang
====================
This variant, where elements of Miyan Malhar are stitched
on the Sarang fabric, is attributed to Tansen, whence the
name Miyan ka Sarang. One viewpoint is that the rAga obtains
by eliminating the komal gandhAr from Miyan Malhar and
advancing the sArang rAgAnga. Be that as it may, Miyan
Malhar supplies the following tonal molecules:

n D, n D n M P; or n D N, S; or the slide N n (D)P. The
rest of the lakshaNAs are those of sArang.

These ideas are implemented in Jha-sahab's vilambit
composition, "sira rAje mora mukuTa" -

http://www.parrikar.prohosting.com/sarang/jha_miyaka_vil.ram

Jha-sahab delivers a traditional composition addressed to
'Rangile,' "palaka na lAgi rahi" -

http://www.parrikar.prohosting.com/sarang/jha_miyaka_druta1.ram

The final item in this triple header is Ramrang's own composition
"jaba Hari hAtha liyo," the text reflecting an incident from the
Lanka kAnDa of the Ramayana -

http://www.parrikar.prohosting.com/sarang/jha_miyaka_druta2.ram

Bsavraj Rajguru has converted the old dhrupad "dayAnidhi"
into a vilambit roopak kHayAl -

http://www.parrikar.prohosting.com/sarang/rajguru_miyaka.ram

"Jaya jaya Rama japa nAma," sings S.N. Ratanjankar, his own
composition in jhaptAla -

http://www.parrikar.prohosting.com/sarang/snr_miyaka.ram

The last item in Miyan ki Sarang by Ali Akbar Khan is
unorthodox and diverges significantly from the earlier clips.
This version uses Shuddha Sarang, rather than Brindavani, as
its base. It is curious that the version taught to Bhatkhande
by Wazir Khan is nothing like this. By implication this means
that Allauddin Khan got Miyan ka Sarang elsewhere, not from
Wazir Khan. Bhatkhande mentions that another Rampur ustAd
independently taught him Miyan ka Sarang that was identical
to Wazir Khan's, so Wazir Khan peddling an ersatz version to
Bhatkhande can be ruled out in this instance. Furthermore,
Bhatkhande's alert and extraordinarily sharp mind was not
easy to dupe. In most cases where the ustAds played foul
with the words of a bandish, or with rAgas, he knew he
had been lead down the garden path. He would have chased Wazir
Khan like he would a rat through the Tundra and indeed he
did so on more than one occasion, forcing the ustAd to yield
the truth or plead ignorance. The case of Bahaduri Todi
makes interesting reading in this context but that is a
story for another day. I should mention that whenever
someone appears in less than favourable light in these
encounters, especially his gurus such as Wazir Khan,
Bhatkhande does not directly mention them by name but makes
oblique references. How one wishes there were independently
documented accounts of these encounters. Bhatkhande, always
self-effacing in his writing, must have left out many a
fascinating story.

http://www.parrikar.prohosting.com/sarang/aak_miyaka.ram

Raga Samant Sarang
==================
The shuddha dhaivat taken in vakra prayogas is the definitive
theme in Samant Sarang. Typically, such prayogas include tonal
sentences of the type:

R M P, M n D P; or R M P n D P; or RMPDnDPM R; or R M R, M D P

Some folks employ both the nishAds, others have use for only the
komal nishAd. There is an occasional Avirbhava of Desh. Soor
Malhar is an allied rAga swarawise, but of a different rAgAnga.

Jha-sahab's vilambit composition in dheemA teentAla comes with
an arresting mukhDA that swiftly scythes to the rAga core;
"humri sudh kAhe bisAri, Udho" -

http://www.parrikar.prohosting.com/sarang/jha_samant_vil.ram

A brisk run of Ramrang's druta cheez, "mandara more Ayo
sANwariyA" -

http://www.parrikar.prohosting.com/sarang/jha_samant_druta.ram

Ravi Shankar makes a statement of the Maihar version -

http://www.parrikar.prohosting.com/sarang/shankar_samant.ram

Faiyyaz Khan's AlAp in Samant Sarang, much prized, like any other
recording of the great man -

http://www.parrikar.prohosting.com/sarang/faiyyaz_samant.ram

Raga Badhans Sarang
===================
This sArang prakAr comes in at least 3 disparate flavours.
We present here one old version, wherein the shuddha
gandhAr is introduced rather piquantly into the avaroha
flow. To wit, n P G M R, N' S R M P N.

Jha-sahab sings a traditional "Sadarang" composition -

http://www.parrikar.prohosting.com/sarang/jha_badhans_vil.ram

And Shaunak Abhisheki renders Jha-sahab's composition,
"bharmAyo mana mero ina sANwaro ne" -

http://www.parrikar.prohosting.com/sarang/shaunak_badhans.ram

Raga Lankadahan Sarang
======================
This is a 'small' rAga but with an impressive name. The
key idea here is the insertion of the komal gandhAr in
sArang framework. Typically, this is accomplished in the
avarohAtmak sanchAris. The precise attack on the komal
gandhAr varies and principally takes one of two modes:
A Darbari-like g M R S or a Desi-like P R g R S. Still
others posit a Jaijaivanti-like R g R mode. Other
gharAnA-specific details include inclusion/exclusion of
the dhaivat, use of both/only komal nishAd.

Two examples of Lankadahan Sarang are offered, first in
the voice of Jha-sahab -

http://www.parrikar.prohosting.com/sarang/jha_lankadahan.ram

And an AlAp by Ali Akbar Khan -

http://www.parrikar.prohosting.com/sarang/aak_lankadahan.ram

Raga Salang
===========
This is an auDav jAti Sarang prakAr that is in a sense the
obverse of Madhmad. That is, only the shuddha nishAd finds use
here (S R M P N). This makes it somewhat tAna-unfriendly (recall
how the komal nishAd makes life easier in descent). C.R. Vyas
renders his own composition, "aba to mori mAna moorakha manvA" -

http://www.parrikar.prohosting.com/sarang/crvyas_salang.ram

Raga Dhulia Sarang
==================
An aprachalita prakAr, typically the province of the Agra singers.
Even within Agra there is a difference of opinion as regards the
rAga swaroopa. Like its malhAr counterpart Dhulia Malhar, the version
included here combines elements of Desh and Sarang. In the
attached clip of Latafat Hussain Khan there is a fleeting, albeit
discernable, glimpse of the shuddha gandhAr. Typically it enters
the picture via a M-G-R meenD or RG S R M P or a quick RGM flourish.
The initial AlAp exhibits clearly the shuddha gandhAr but it is
not included in the clip -

http://www.parrikar.prohosting.com/sarang/latafat_dhuliya.ram

With this we have touched upon all the traditional members of
the Sarang family. Additional newer prakArs exist but are either
localized or have gone out of fashion. Roshanara Begum sings a
variation called Maru Sarang, which, if I correctly recall, uses
the scale of Madmadh. I am not too enthused about that rendition
although I may listen to it one of these days just to refresh
my memory. Then there is Noor Sarang which employs only the
teevra madhyam. An old recording in this rAga will be placed
on the upcoming Sawf feature.

Acknowledgement: Major consultation on the 'light' selections
was provided by Sir Vish Krishnan, whose insight and knowledge
in these matters and more are nonpareil.

Warm regards,

r

[Rajan P. Parrikar]

I had written:

>RANI ROOPMATI was a Sarang orgy of sorts. Here's another
>one, by Rafi and Asha; "jhananana jhan" -

^^^^^

That should be Rafi and Lata.

r

>http://www.parrikar.prohosting.com/sarang/jhananana.ram

[kanek...@my-deja.com]

In article <8t26i...@drn.newsguy.com>,
Rajan P. Parrikar <parr...@yahoo.com> wrote:
.....

Dear Rajan,
thank you for the fabulous posting on the sarang family.
I especially enjoyed jha-sahab's explanations. The vazebuwa tarana
and all the madhmad saran pieces were great. Bade Fateh Ali has the
same cheez as Megh if I recollect. Also there is a very nice
madhmad s. by Kumar gandharva - "ranga rejava ..." I am looking
forward to the sawf posting.
best regards,
shri

Sent via Deja.com http://www.deja.com/
Before you buy.

[Rajan P. Parrikar]

kanek...@my-deja.com writes:

> Dear Rajan,
> thank you for the fabulous posting on the sarang family.
> I especially enjoyed jha-sahab's explanations. The vazebuwa tarana
> and all the madhmad saran pieces were great. Bade Fateh Ali has the
> same cheez as Megh if I recollect. Also there is a very nice
> madhmad s. by Kumar gandharva - "ranga rejava ..." I am looking
> forward to the sawf posting.
> best regards,
> shri

Yes, Kumar's "ranga de rangarejavA" is a delight. In the Sawf
feature I am including his other bandish, in druta ektAla,
"rukhavA tale AyA." Also stay tuned for an extended Kishori
Amonkar clip in Madhmad.

Warm regards,

r

[vimal aga]

rajanji:
any possibility of adding a clip or two of raag saraswati sarang to this
post when you expand it for the sawf site? a clip of jha saheb singing one
of his compositions in this sankirna raag will be a real treat.
regards,
vimal.

[Rajan P. Parrikar]

"vimal aga" <vm_...@hotmail.com> writes:

I have briefly heard him do the chalan of Saraswati Sarang
but I don't have a recording yet. As the name suggests, it
combines Raga Saraswati with the sArang rAgAnga.

Warm regards,

r

[Rajan P. Parrikar]

Namashkar.

An Appendix has now been added to the Sarang feature on
Sawf located at:

http://www.sawf.org/newedit/edit10302000/musicarts.asp

It contains some Karnataka selections in Raga Madhyamavati.
The rAga shares its scale with the Hindustani Madhmad Sarang
but there are notable differences in swara handling and
emphasis.

Warm regards,

r

[Chidambaram Narayanan]

Hi Rajan,

Thanks much for the karNATaka clips.
To me madhyamAvatI invokes the karuNA rasA (disagreements
should be interesting). What about madhmad sArang?

Also, I know that the karNATaka shRI rAgam is very close
to madhyamAvatI but does not invoke the karuNA rasA. Wonder
what is going on. Can anybody connect the rasA with particular
prayogAs in madhyamAvatI?

regards,
chidu...

--
Chidambaram Narayanan
Institut fuer Energietecknik
Clausiusstrasse 33
ETH Zentrum, CLT D4
CH-8092, Zurich
Off: +41(01)632-4601

[ChristianAMR]

Ocean has Bhimpalasi Sarang . Unfortunately the audio fragment by Arvind Gajendragadkar lasts only about a minute ....
Also sad that nobody else has performed this raag .

[ChristianAMR]

Ud Bade GAK sings an enchanting Hindol Sarang whose name confuses me .Therefore in my handwritten notes I write Gorakh between parentesis since Ocean says that Gorakh Kalyan is used the avroh .
Unfortunately no one else has used this raag since then ( apparently ) .

[ChristianAMR]

Deshi Sarang ( Desi )

Probably created by Ab Shenoy

" A humble attempt at combining Raags Desi and Madhmaad Sarang.

s R m p n S - p, D - m, p - R, R g -, s R -, n. s R p m - , p n p m R -, n. R - s "

https://www.youtube.com/watch?v=PAGj-ysXfWI

[ChristianAMR]

Asa Sarang

Acc to Ocean : Asavari + Sarang . Same swars as Madhmad S

https://www.youtube.com/watch?v=Es1r-Hlgt7w - Ud Rajab Ali Khan

[ChristianAMR]

Shobha Sarang

Acc to Ocean : Shobhavari + Sarang

https://www.youtube.com/watch?v=MgCbaz6FVVE - Shruti Vaze

[ChristianAMR]

Yashovati Sarang : Patdeep + Brind. Sarang

https://www.youtube.com/watch?v=_uKV3KZBb7Q - Ab Shenoy

[ChristianAMR]

Maluha Sarang : Maluha Kedar + Sarang - acc to Ocean .
He also has its lakshanas .

https://www.youtube.com/watch?v=x2RGsHLP0Y0 - Joydeep Mukherjee on Radhika Mohanveena ( no taalvadya ) - He uses dvi-nishad .

[ChristianAMR]

Noor Sarang - Ab Sh - tarana drt ekt " Tana derenaa tadaare daani - more layakari than usual , more interesting for me

Vid :
" Derived by avoiding use of shudh madhyam in Raag Shudh Sarang

N. s R M p N S ; S N D p M R s "

https://www.youtube.com/watch?v=2EDzZs51Y0M

[ChristianAMR]

Kular Sarang - set SRMPn
One of the raags where alone the swar set sounds interesting .

Unfortunately nobody is exploring it these days .

Kirat Singh - short bandish - more like a demo or lesson . Even so it sounds good .

https://www.youtube.com/watch?v=S8Dv5sLT9LU

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U Allah rakha Sarangi -

https://www.youtube.com/watch?v=CQbKLuDPsIM