Sarang -An instrument of the Panchhe Baja

BIOGRAPHY

Rag Sarang” in a melodious tune of “Naumati Baja”

The context was National folk Music Dance Occasion 2057, which had been organized by the joint venture of RONAST and Nepal tourism Development Board. The occasion was successfully held in Academy Hall. All the contestants and non-contestants musical performers  were invited there. Although it was named as Panchhe Baja, we could call it Naumati Baja as there was the involvement of nine musicians, who were in one group. This group was enchanting  the audience right from the beginning from the compound of Academy Hall. After the compound performance, this group also performed its music from the stage of the Hall, too.
The Panchhe Baja of Dhadhing performed so many traditional musical tunes over there. Among these tunes, one tune was very much melodious. This tune has been heard and played since the ancient time of Nepal. Its name is SARANG. Besides this Sarang, there is one more tune known as GAUD, which is equally popular in Nepalese folk Music. There are so many other rhythms in Nepalese Folk Music, which are played and performed by Panchhe Baja and Naumati Baja. The following tunes are being played in their own style. These tunes are Malshree, Chanchari, Ramkali, Basant, Bimas, and Kalyan. Besides these tunes, There are some certain tunes that are played in certain times, Such as Bimas is played in the morning time, Diwas Rag is played in the evening time. There are other tunes too, which are played throughout the year. For example, Malshree and Chanchari are played in the time of Dashain festival. Deusi and Bhailo are played in the time of Tihar; likewise, in the time of Spring, Basant Rag is played. Holi and Aashare tunes are also played accordingly. In addition to these contemporary tunes, there are other occasional serious tunes also which are played in Panchhebaja and Naumati Baja. Among these all the tunes, one tune is known as BehuliMagne (Asking for Bride), This tune has its own special style. This tune is played in the time of marriage ceremony. One article related to this topic was also published in 1998.
A British Musician Dr. Carol Tiggi has also written about Sarang and GauriSarang tunes of Gorkha in his book. Though these tunes are difficult to hear these days, we can still feel these tunes on the basis of Notation. There is need to conduct a research in the field of these tunes like how our traditional folk musicians sing this tune Sarang. In how many ways they sing, I feel that there must be a comparative research between our existing of folk music and the tune of classical music.
The concerned authority must provide the scholarship to investigate and preserve these serious subjects of music that are about to extinct. The tunes of our traditional music are seemed to be different from those of classical music. Let us consider on Rag Sarang which was introduced by DhadingPanchhe Baja Group. According to  the classical music system of Northern India, there are so many forms of Rag Sarang. Indeed, there are 24 existing Sarang in this system. They are Sarang, Gaud Sarang, SuddhaSarang, SamantSarang, MadhyamadSarang, BrindwaniSarang, SarangiSarang, BadhansSarang, InduSarang, DhuliyaSarang, BhimSarang, MadhuSarang, RaktahansSarang, LumSarang, ShuklaSarang, GaurharSarang, MadhumadhawiSarang, SuratiSarang, SutSarang, MiyakiSarang, NurSarang, SarpaSarang, LankdahanSarang, and PurwiSarang.
In the same way, we find different types of Sarang tunes in the classical musical system of Southern India (Karnatak). Among them, some important tunes are known as the same one name in both the systems. They are SarangLalitSarang, Bouli, Sarang Nat, SarangKafi. We could name them SuddhaSarang. The names of those composers were joined in those Sarang who composed them. For example, MiyaTansen, the famous musician, composed one Sarang and later on it is called as MiyakiSarang. Therefore, it is proved from the names of those Sarangs that the individual  name of the composer was suffixed with the Sarang. According to the supposition of classical music, most of the Sarangs were originated from KafiThat, but it is also supposed that some of them were originated from SarangYaman and Khamji That. For this reason Sarang are a bit  different from Kafi That.

According to the Southern Indian (Karnatak) music match,
Sarang was originated from the following matches:
1.SarangLalit (Ganmuri Match)
2. SarangBouli (Natakpriya Match)
3. Sarang Nat (Mayamalwagoud Match)
4. SarangKafi (Natvairawi Match)
5. SarangBhamari (Sanmukhpriya Match)
6. SuddhaSarang (Rishavpriya Match)
7. PratapSarang (Kosal Match)
8.Saraang (Wachaspati Match)
9. SarangMaruw (Bhavpriya Match)
10. InduSarang (Hanumattodi Match)

Hence, from the above reference, it is quite easy to say that Rag Sarang is equally popular and famous in both Northern and Southern Indian classical music system. All the famous singers like to present the same Rag Sarang to enchant and win their listeners’ heart.
Now let us have some knowledge of that Rag Sarang which now exists in the classical music of Indian system. At first, let’s see how the name of Sarang is given to Rag Sarang, In this matter, with the reference of Oosi Ganguli, American Music Scholar Mr. Walter Cafman has said. “The name Rag Sarang is given to Rag Sarang because of its composer Scholar Sarang Dev, he is the one who composed it in Sangit Ratnakar. “(A music Book of Thirteen Century).
According to one traditional couplet, (the author of one music book) this Rag Sarang has been kept in the Rasvaw of Bipralmaw Shringar. The author of Rag Kosh has kept the original Sarang in his book in the forms of couplet.
We find the pictorial details of Rag Sarang and Rag Sarangi in Nepalese Music Book. There we find the pictures of both male and female carrying lyres (Indian Lute) in their hands in Sarang Rag but on the other hand, we find the picture of female carrying a lyre in her hand in SarangiRagini. In the same picture book, we find Lord Krishna and Radha in different poses.

MUSICIANS :

Drum, Dholik : Krishna Darji
Shanai : Kancha Suman Gore Darji,
Tok Man Nepali & Dhal B. Nepali
Damaha : Ram B. Suman, Nartaj Suman
Narsingha : Kale Darji, Kacha Bhitrakoti
Tyamko : Govinda Chaudhari
Jhurma : Purna B. Pariyar