Vrindavani Sarang

A midday raga omitting Ga and Dha and using both forms of Ni.

Reading the swaras

S R G M P D N are shuddha notes, r g d n are komal notes, and M^ is tivra Ma. ↑ marks the upper octave and ↓ the lower; unmarked notes are in the middle octave. — continues the previous sound, · marks an unsung position, and parentheses indicate grace notes.

Notes and identity

Field	Value
Thaat	Kafi (Sarang-ang)
Swaras used	S R M P N — omits Ga and Dha; both nishads (shuddha up, komal down)
Jati	Audav (5 notes)
Vadi	Re (R)
Samvadi	Pa (P)
Aroha	N↓ S R M P N S↑
Avaroha	S↑ n P M R S
Time	Midday (noon)

Grammar & signature

The N↓ S R approach and M R, P M R movements are characteristic; R P N S↑ climbs.
Both nishads is the signature — shuddha Ni in ascent, komal Ni in descent.

Pakad / chalan (illustrative)

These phrases illustrate the treatment described on this page. Phrase shape and emphasis can differ between teachers.

N↓ S R, M R, P M R, R P N S↑
Re and Pa are the pillars; the N↓ S R approach and the M R movement are characteristic.

Phrase examples

Belongs: N↓ S R M P N S↑ (ascent, shuddha Ni), S↑ n P M R S (descent, komal Ni), P M R.
Avoid / careful: admitting Ga or Dha breaks the raga (it omits both); mixing the two nishads' direction blurs it.
Common learner errors: slipping in Ga/Dha; using the wrong nishad for the direction.

Allied ragas & differentiation

The Sarang family is large (Madhmad Sarang, Shuddha Sarang, Miyan ki Sarang, etc.); Vrindavani is the reference member.

Related music

Talas: Teental. Form: Khayal.
Concepts: audav jati, both-nishad treatment — see Jati.