Raga Shuddha Sarang
This is probably the most popular Sarang prakar. It employs both shuddha and teevra madhyam. Shuddh sarang is a common raga, popular with both vocalists and instrumentalists.
Raga Shuddha Sarang belongs to the Sarang family of Ragas, and is an afternoon raga. It is one of the many ragas which uses both the Madhyams - Komal Madhyam (ma) and Tivra Madhyam (Ma). This creates quite a dilemma with regard to classifying this raga.
As per the Melakarta classification of ragas, which divides ragas into 72 sets called Melakartas, these sets are identically split into two subsets of 36 each, distinguished by the Madhyam. For example, raga Shankarabharanam, is in the Dheerashankarabaranam Melakarta (29th Melakarta), and is a Komal Madhyam raga. The exact Tivra Madhyam equivalent in scale (with all other notes being the same) is Kalyani, which is in the Mechakalyani Melakarta, and is numbered 65th (29+36). So, Melakartas are divided into 36 Komal Madhyam Ragas, and equivalent 36 Tivra Madhyam Ragas.
Among the day time ragas, Shuddha-Sarang, a member of the Sarang Family, produces a strong and lasting impression. The raga mood is at once menifested by the simultaneous presentation of both Madhyams followed by Rishabh in Avroh (M m R). Similarly the notes S ; ,N ,D S ,N R S are raga Vachak. In this Raag S R M P N S is the usual Aaroh but sometimes P D N S is also allowed. In Avroh, Dhaivat is not a resting note however it is rendered in Meend from Nishad to Pancham touching Dhaivat like: N (D)P.
Madhyam Teevra is used primarily in Aaroh (M P N S' or M P D N S') and Shuddha Madhyam is used only in Avroh like: M m R S or ,N S R m R S. Shuddha Nishad is a vital and a resting note in the Mandra Saptak. Komal Nishad is sometimes rarely used like: M P n P M m R S.
Raga Shyam-Kalyan is close to raga Shuddha-Sarang. The presence of Gandhar in Aaroh makes Shyam-Kalyan different from this raga.