Arun Malhar | SRGmPDnNS | Hindustani Raga Index

S-R-G-m-P-D-nN-S

A rare and ancient Malhar variant, said to be marked out by a DDnPDGPm pakad. As per Rajan Parrikar, “although it finds a mention in Bhatkhande, no details are forthcoming – there are a couple of other works where the raga is treated, but only in the sketchiest of terms”. Described as a mix of Bilawal, Gaud Malhar, and Shuddha Malhar, seasoned with “a Tilang-like tonal phrase, providing a very pleasing effect”. Refer to Ramrang’s 1989 rendition (bandish transcribed below), which showcases a strong shuddha Ga amidst slow-looping ornamental flourishes – as well as a 1970s tarana–tappa–kajri take by Vishnu Sewak Mishra (one of the only recordings I can find by the Benares maestro: a vital part of the city’s Prasuddhu-Monohar lineage).

• Raga Megalist (365+) •

राग अरुण मल्हार

Search | Glossary | Tags

• Hindustani Raga Index •

—Ramashreya Jha ‘Ramrang’ (1989)—

[bandish, e.g. 1:39] G/NPGm G RS, (N)SRG(R)Gm, GRGm, GGR(GR) R/P, P/NPGm G RS…

Support open-access, ad-free raga musicology by joining my new PATREON. And if you’re seeking to learn raga, get started with some online lessons! Currently accepting Zoom students

• Recent Raga Index Updates (Dec 2025): Added new ragas: e.g. Asa, Basant Bahar, Badhans Sarang, Bayati, Chandni Todi, Chandraprabha, Deepavali, Firozkhani Todi, Gaud, Japaniya, Kaushiki, Latangi, Maru, Palas, Sarangkauns, Shivanjali, Shrutivardhini • ‘Bifurcations‘: analysis via ‘poorvang + uttarang’ formulas • DoGa Kalyan & the Beatles’ Blue Jay Way • Amir Khan’s ‘168 merukhands’ • Uncovered Prabhateshwari‘s origins • Transcribed Manjiri Asanare-Kelkar’s ‘Amodini‘ lec-dems • Experiments (e.g overtonal Bhairav, jazz Malkauns) • Survey of Sa Tunings • More Masterlist ragas (1000+)

• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Desh, Des Malhar, Champak, Alhaiya Bilawal, Devgiri Bilawal, Kukubh Bilawal, Bihagara, Bihagda, Nat Kamod, Gaud Malhar, Sorath, Tilak Malhar

–Proximate Forms–

Khamaj = ‘Arun Malhar only ni‘

Bilawal = ‘Arun Malhar only Ni‘

Miyan ki Malhar = ‘Arun Malhar komal ga‘

Shankara Karan = ‘Arun Malhar tivra Ma‘

(n.b. these are just ‘scalar similarities’, with nothing particular implied about phraseological overlap)

–Swara Geometries–

• Core form: S–R–G–m–P–D–nN–S

• Reverse: SrRgmPdnS (=Gandhari)

• Negative: 5-2-3-2

• Imperfect: 1 (Ni)

• Detached: none

• Symmetries: mirror (Gm—nN)

• Murchanas: Bihag set

• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

–Global Translations–

• Carnatic: ~Kedaragaula

S-R₂-G₃-M₁-P-D₂-N₂-N₃-S

• Jazz: Bebop Dominant

1-2-3-4-5-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-2-4-5-7-9-10-11-0

(2–2–1–2–2–1–1–1)

o • o • o o • o • o o o o

• Tanpura: Sa–Pa

• Names: Arun Malhar, Aron Malhar

• Transliterations: Hindi (अरुण मल्हार)

—Vishnu Sewak Mishra (~1970s)—

• Get started with learning raga! •

Share these ragas! My site is 100% reliant on organic visitors (and none of your donations go to ad agencies…) – share this with fellow sonic searchers!

—Join my PATREON!—

Like everything on my site, the Raga Index will always remain open-access & ad-free: however, anti-corporate musicology doesn’t pay the bills! I put as much into these resources as time and finances allow – so, to hasten the project’s expansion, you can:

• Support the Raga Index! •

—Riyaz-focused notations & bandish—

—Resurrecting rare and ancient ragas—

—Further melodic & geometric analysis—

—Engaging with Hindustani performers—

—Ensuring that high-quality raga knowledge will remain open to all, at no cost: free from commercial motive!—

—Hindustani Raga Index—

An open-ended project seeking to bring North Indian raga closer to all who approach with open ears. Combines direct input from dozens of leading Hindustani artists with in-depth insights from music history, global theory, performance practice, cognitive science, and much more besides!

–Megalist (365+ ragas)–

• Search: Find your new favourite •
• Tags: Classifying the ragascape •
• Glossary: Raga jargon demystified •
• Murchanas: Swara-set rotations •
• Thaat: Bhatkhande’s base scales •
• Bifurcations: Poorvangs/uttarangs •
• Ragatable: Analytical connections •
• Tanpuras: Divine overtonal drones •
• Quotes: Musings from raga artists •
• Talas: Hindustani rhythm cycles •
• Instruments: Singing sculptures •
• Masterlist: 1000+ ragas profiled •

Sa | Re | Ga | Ma | Pa | Dha | Ni

¡Random Raga!

—Search the Raga Index—

(NEW: search by swaras/varjits)

• Feedback / Contact •

George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!