This is an India musical raga (composition) that appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib or SGGS for short. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune.
In the SGGS, the Sikh holy Granth (book) there are a total of 31 raga compositions and this raga is the twenty-sixth raga to appear in the series. The composition in this raga appear on a total of 57 pages from page numbers 1197 to 1254.
Sarang is reputed to have acquired its name from the famous 14th century music theorist, Sarangadeva. The Sarang raga consists of a group of seven, each of which is combined with some other raga. Today when Sarang is given as the raga, it usually means Brindavani-Saranga, a member of the Kafi thata. Performed during the midday period, its mood is quiet and peaceful. In the Ragmala, Sarang is listed as a putra (son) of Sri Raag. Sarang is an important raga in the Guru Granth Sahib and was used extensively by Guru Arjan. However, Guru Nanak, Guru Amar Das, Guru Ram Das and Guru Tegh Bahadur also composed shabads to this raga and Guru Angad used it for some slokas.
According to Indian Schools of music this raga is a very old, popular, simple and melodious raga. Its effect is very cool, so it is normally sung at noon time to give to the listeners a cooling effect. The snake-charmers also use this raga to intoxicate poisonous snakes with its melody. This raga is sung in many variations
- Sadh Sarang,
- Madhmad Sarang
- Bindrabani Sarang
- Lankdehan Sarang
- Mia ki Sarang,
- Gaund Sarang,
- Jaldhar Sarang,
- Surdasi Sarang,
- Nur Sarang,
- Samant Sarang
- Wadhans Sarang
- Aaroh (ascending): Sa Re Ma Pa Ni Sa
- Avroh] (decending): Sa Ni Pa Ma Re, Sa
- Pakar: Ni Sa Re, Ma Re, Pa Ma Re, Ni Sa
- Vadi: Re
- Samvadi: Pa
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