Hindustani raga
Sarang without shuddh Ni.
Your guide to Madhmad Sarang
New to classical music — moods, stories, film songs and simple listening.
Press play to hear the notes of Madhmad Sarang, rising then falling.
Shringar. Traditionally heard at midday.
Film songs you may know ↓New to classical music?
Think of a raga as more than a scale: a set of rules and a personality. Madhmad Sarang has its own notes, its own favourite phrases, its own time of day and its own mood, the way a person has a recognisable voice and way of talking.
Madhmad Sarang sounds a mix of light and shade, sliding between bright and dark notes. Its emotional colour is love and beauty, sometimes the sweet ache of missing someone. Traditionally it is traditionally performed in the midday, because Indian musicians believe each raga matches the feeling of a certain hour or season.
Sarang without shuddh Ni. The beauty of Madhmad Sarang comes from patience: a good performer doesn't rush through the scale but lingers, bending into notes and letting each phrase breathe, so the mood builds slowly until it fills the room.
Listening exercise: Try this: press "Full scale" above, then open one of the recordings below. In the first few minutes, see if you can hear the missing Ga. Once you catch it, you've started to recognise Madhmad Sarang.
Hindustani ragas mostly developed through oral tradition, passed guru to disciple. Medieval treatises such as Sangita Ratnakara (13th c.) and the later Raga-Ragini systems grouped them into 'families'.
In the early 20th century, V. N. Bhatkhande organised Hindustani ragas into ten thaats (parent scales). Madhmad Sarang is classified under Kafi thaat. The thaat is a modern classification, not necessarily the raga's historical origin.
Each gharana (school) interprets ragas slightly differently, so a raga's phrasing has kept evolving through the 19th and 20th centuries, and further through recordings and radio.
Looking for more history…
Arohana (ascent) · 5 notes
S R M P n S'
Avarohana (descent) · 5 notes
S' n P M R S
Synthesised with Sa = A3. A real performance uses gamakas, meends and phrasing that a bare scale can't capture.
| Swara | Interval from Sa | Western (Sa = C) |
|---|---|---|
| Sa | Unison | C |
| Shuddh Re | Major 2nd | D |
| Shuddh Ma | Perfect 4th | F |
| Pa | Perfect 5th | G |
| Komal Ni | Minor 7th | A# |
Omitted (varjya) swaras: Ga, Dha.
Jati (Audava–Audava). The ascent uses 5 distinct notes and the descent 5. Audava = 5, Shadava = 6, Sampurna = 7.
Krama (straight) movement. Notes are taken in order going up and coming down.
Parent scale. Kafi thaat: Komal Ga and Ni. Equivalent to the Dorian mode and Carnatic Kharaharapriya.
Time (Midday). Sung from midday through the afternoon (roughly noon–4 PM), the time of Sarang and Kafi-family ragas.
Vadi and samvadi. R is the king note, the most emphasised and returned to. P is the minister, the second most important note.
Shringar
Romance and beauty, including love in union (sambhoga) and longing in separation (viraha).
Each link opens a YouTube or Spotify search for this raga by the instrument or artist.
These ragas use exactly the same notes, though their phrasing and ornaments differ.
Same notes, but a different character because of emphasis, movement and phrasing.
Madhmad Sarang is traditionally sung: Midday.
Ragas that sound most like Madhmad Sarang, and how to tell them apart.
Ragas from the same family or named after Madhmad Sarang, such as Yaman and Yaman Kalyan. They are related but each has its own rules.
No well-known Hindi film song is confidently attributed to this raga yet.
No regional film song is confidently attributed to this raga yet.
Film songs often take liberties with a raga, so treat these as "based on" rather than strict renditions.
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Notation: Hindustani komal notes are lowercase (r g d n), M# = tivra Ma, ' = upper octave. Carnatic numbers mark swara variants (R1, G3, …).