Swaras | Both Madhyam (m & M), rest all Shuddha Swaras |
Jati | Sampurna-Sampurna Vakra |
Time | (9 AM -12 Noon) : 2nd Prahar of the day : Din ka Dwitiya Prahar |
Vishranti Sthan | G P N S' - S' P G |
Mukhya-Ang | S G R m G - P R S - m G P - D P - S' DP R S |
Aaroh | ,N S R S - G R m G P - M P D N S' |
Avroh | S' N D P - M P DN P - D P - m G R S |
Vishesh : Raag Gaud-Sarang though a daytime melody produces effect
like the night melodies. Perheps due to its Vadi-Swara
N (as per several texts including those by Pt. V.N. Bhatkhande ji) being
in the Uttarang, it is
to be rendered during the day. The overall impact of the Raag is identical
to that in Raag Kedar or Raag
Bihag. (Both night time Raagas). The combination of G R m G - P s GR
S is considered as Raag-Vachak i.e. characteristics of the melody.
Like in Raag Kedar & Raag
Hameer the Teevra Madhyam (M) is rendered Vakra as illustrated here;
S' N D P - M P D P - M P - M P G m - R G R
- m G - PM DP MP DP - M P G m - R G R - m G - P s GR S
In Aaroh, alternative to M P D N S'
one can proceed as in Raag Bihag i.e ,N
S G m P N S' with Shuddha Madhyam (m).