Raga Study: Brindavani Sarang MCQs Quiz | Class 10

Understanding Raga Brindavani Sarang

Raga Brindavani Sarang is a melodious and popular raga in Hindustani classical music, belonging to the Sarang family of ragas. It evokes a feeling of devotion and romance (Shringar Rasa). Its distinct melodic phrases and specific rules make it easily identifiable and a delight to perform and listen to.

Key Characteristics of Brindavani Sarang

• Thaat: Kafi Thaat. This thaaat is characterized by Komal Gandhar (g) and Komal Nishad (n), but Brindavani Sarang has Shuddh Gandhar (G) and Shuddh Nishad (N) in its aroha, making it distinct within Kafi Thaat. However, its overall mood and the usage of certain phrases give it an affinity. Some schools also classify it under Bilaval Thaat due to the absence of komal swaras and emphasis on shuddh swaras in its basic structure, but Kafi is more widely accepted due to its characteristic Sarang family treatment. For CBSE Class 10, Kafi Thaat is the standard classification.
• Jati: Audav-Audav (5 notes in ascent, 5 notes in descent). This means it omits two swaras entirely.
• Varjit Swaras (Omitted Notes): Gandhar (Ga) and Dhaivat (Dha). These notes are completely absent in both aroha and avroha.
• Vadi Swara (Sonant): Rishabh (Re). This is the most prominent note in the raga, around which the melodic development often revolves.
• Samvadi Swara (Consonant): Pancham (Pa). This is the second most important note, supporting the Vadi.
• Time of Rendition: Midday (Madhyanha Kaal), usually between 12 PM and 3 PM.
• Nature/Mood: Shringar (romantic, devotional), Bhakti (devotional). It creates a serene and somewhat playful atmosphere.

Aroha, Avroha, and Pakad

The structure of Brindavani Sarang is quite straightforward due to its Audav-Audav jati. Understanding these forms is crucial for its correct rendition.

• Aroha (Ascending Scale): Sa Re Ma Pa Ni Sa’
• Avroha (Descending Scale): Sa’ Ni Pa Ma Re Sa
• Pakad (Catch Phrase): Ni Sa Re Ma Pa, Re Ma Pa Ni Pa Ma Re Sa. This phrase captures the essence of the raga and helps in identifying it. Another common pakad is Ni Sa Re Ma Pa Ni Sa’ || Sa’ Ni Pa Ma Re Sa ||

Characteristic Features and Usage

• The absence of Gandhar and Dhaivat gives it a distinct open and bright character.
• The use of both Shuddh Ni and Komal Ni is seen in some variations or during specific embellishments, but in its core form, it uses Shuddh Ni. For Class 10, Shuddh Ni is standard.
• Meend (glide) from Pa to Re is very characteristic.
• The phrase ‘Ma Re’ is often rendered with a slight pause or emphasis.
• It is usually performed in Madhya Laya (medium tempo).

Comparison with Similar Ragas

Brindavani Sarang is part of the larger Sarang family. Other prominent Sarang ragas include:

• Madhmat Sarang: Also Audav-Audav, but uses Komal Nishad in Avroha while Brindavani uses Shuddh Nishad. Madhmat’s aroha is Sa Re Ma Pa n Sa’, and avroha is Sa’ n Pa Ma Re Sa. Its Vadi is Re and Samvadi is Pa, similar to Brindavani.
• Shuddh Sarang: Uses both Shuddh and Teevra Madhyam, making it a Sampurna-Sampurna raga and distinct from Brindavani’s Audav jati.

Quick Revision Summary

Practice Questions

1. Which Thaat is Brindavani Sarang traditionally associated with?
   a) Bilaval b) Kalyan c) Kafi d) Khamaj
2. How many notes are used in the Aroha of Brindavani Sarang?
   a) Six b) Seven c) Five d) Four
3. Which of the following is the Vadi Swara of Brindavani Sarang?
   a) Sa b) Ma c) Pa d) Re
4. The mood associated with Brindavani Sarang is primarily:
   a) Veera (heroic) b) Karuna (pathos) c) Shringar (romantic) d) Raudra (fury)
5. Which raga is similar to Brindavani Sarang but uses Komal Nishad in avroha?
   a) Shuddh Sarang b) Madhmat Sarang c) Des d) Tilak Kamod