Live Sunday Riyaz Session With guruji Sanjay dewale Raag Mdhamada sarang(17/03/2024)

Raag Madhumad Sarang
Swar Notations
Swaras Gandhar and Dhaivat Varjya, Nishad Komal. Rest all Shuddha Swaras.
Jati Audhav - Audhav
Thaat Kafi
Vadi/Samvadi Rishabh/Pancham
Time Afternoon
Vishranti Sthan S; P; - S'; P;
Mukhya-Ang ,n S R ; m R ; P m R ; n P m R ; P m R S ;
Aaroh-Avroh ,n S; R m P n S' - S' n P m R S ;
Raag Description: This Raag is called Madhmad Sarang, Madhumad Sarang, or Madhyamadi Sarang. This Raag has all the characteristic of Raag Sarang (Brindavani Sarang) except it has only Komal Nishad. In this Raag Pancham-Rishabh sangati in Poorvang and Nishad-Pancham sangati in Uttarang is Raag Vachak or illustrative of Raag.
The Swar set of this Raag is similar to Raag Megh-Malhar. But in Raag Megh-Malhar, Malhar Ang is shown prominently and in Raag Madhumaad Sarang, Sarang Ang is prominent.
This Raag can be expanded in Madhya and Tar Saptaks. The Prakruti of this Raag is neither deep nor playful. Following are the illustrative combinations of this Raag:
,n S R m P ; R m R ; n P m R ; m R S R ,n S ; R m P; n P m R; ,n S R S; m P n S' ; S' n P m P; P R m R ; n P m R S ;
Raag Madhumad Sarang •
S-R-m-P-n-S
Running along the lines of ‘Brindabani Sarang with komal ni only’, Madhumad Sarang is among the principal incarnations of its raganga (‘Madhumad’ derives from the Sanskrit ‘madhyamadi’, meaning ‘first’: the Carnatic equivalent is similarly titled ‘Madhyamavati’). Ma and Pa are strong, and the uttarang summons natural upward momentum via clusters such as PSn, PnS, PnSRm, with crisp melodic articulations set against the scale’s palindromic form (e.g. RmRmP, nPnPm). Best explored at drut laya in madhya and taar saptak, Tanarang considers the raga as “neither deep nor playful” (adding that “the Pa-Re and ni-Pa sangatis are illustrative”). Refer to a stellar khayal performance by Malini Rajurkar, as well as a seldom-heard shehnai rendition by the underappreciated Ali Ahmed Hussain - and contrast with Megh: which uses the same swaras to emphasise the Malhar-ang rather than Sarang (in particular: Madhumad Sarang’s ornament patterns tend to be ‘brisker’ than the extended fluidities of Megh).

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साक्षात् दंडवत गुरूजी स..म.. सं ..मं इस स्वरावलि में स..म के : ठहराव पर पल भर के लिए केदार रंग की हल्की सी फुहार एक अलग अनुभूति दे गई. ऐसे प्रतिभाशाली गुरू के प्रशिक्षण के आगे हम सदैव नतमस्तक हैं. हार्दिक हार्दिक हार्दिक शुभेच्छा. 🌻🍀🥀👏👏👏👏👏👏👏👏👏💜💜💜💜💜💜💜💜💜🕊🕊🕊🕊🕊🕊🕊🕊🕊🦚🦚🦚🦚🦚🦚🦚🦚🦚🥀🍀🌻

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🙏🙏🙏

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Guru ji pranam

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साक्षात् दंडवत गुरूजी आहा आहा आहा रागांग और राग के नाम को लेकर किया गया मधुर स्वर संवाद मन को छू गया .औडव जाति के रागों की यात्रा में राग दुर्गा ,कलावती, बैरागीभैरव, हंसधव्नि, मधुकंस ,भूपाल तोड़ी, देशकार आभोगी कानहड़ा, भूपाली और अब ये दसवाँ एक अद्भुत राग रंग है. :धन्यहै गुरुवर आप और आप की गुरूता . और धन्य हो हम सब आपको पाकर . हार्दिक हार्दिक हार्दिक शुभेच्छा. 🌻☘🌺🥀👏👏👏👏👏👏👏👏👏💜💜💜💜💜💜💜💜💜🕊🕊🕊🕊🕊🕊🕊🕊🕊🦚🦚🦚🦚🦚🦚🦚🦚🦚🥀🌺🍀🌻

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God bless you Sir

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Guruji pranam 🙏❣️