The beauty of this raga is that it is a simple pentatonic melody- meaning a raga of five notes - sa ri ma pa ni, where all notes are pure ones except for a komal ni. The same notes are the ones we use for raga Megh- immortalised by Amir Khan Saheb, the main guru who awoke the Khyal within my soul. I can almost never stop singing his bandish- barkha rut aayi, boondan jhar lai (taught to me by yet another of my gurus, Amarjeet didi, in the Indore gharana tradition of Khan saheb) ...in vilambit tempo.
The guru of music for me, in most of my adult times for a lot of reasons, who i have time and again returned back to for little doubts and querries is Madhuri aunty (Smt.Madhuri Dandage, now based in Pune) For the last several years, I have been discussing ragas with her over the phone itself and when I touched this raga (imagine my fear, trying to dare to learn something by myself, when the tradition instills in you a need for a live teacher) I was unsure how to tread between Megh and Madhmaad Sarang. Aunty told me, with the crystal clarity she has...in one sentence how the usage of notes is different in ragas of the Malhar (Megh is an abbreviated name for Megh Malhar) family and Sarang family. That was it...viola! I sing Madhmaad Sarang with the blessings of both of these gurus...
in vilambit tempo, ektal-
हरी हीरा जन जौहरी, ले ले मांडी हात
जब रे मिलेगा पारखी, तब हीरा का saat
हरी हीरा जन जौहरी, ले ले मांडी हात
जब रे मिलेगा पारखी, तब हीरा का saat
hari heera jan jauhari, lae lae maandi haat
jab re milega paarakhi, tab heera ka saat
(Kabir Saakhi)
As Drut- in Punjabi taal
जो साँचा सो केवल राम
औं देव सों नाही काम
जो साँचा सो केवल राम
औं देव सों नाही काम
Jo saancha so kewal ram
Aan dev soan naahi kaam.
after all these inputs can i really claim that i learnt this raga by myself!!!
btw, i did this composition in the summer of 2008- march or april.
