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

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A rare and ancient Malhar variant, said to be marked out by a DDnP DGPm 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” – see chalan below for breakdowns of the specific sequences involved. 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). Compare to other members of the Malhar and Bilawal ragangas.

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राग अरुण मल्हार

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Aroha: SRGm; PmGm; PNDNS

Avroh: SDPm; DDnP; DGPm; GRS

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Pakad: DDnP DGPm

Chalan: blends elements from Gaud (SRGmGm); Tilang (PmGm); Bilawal (PNDNS, DnP); Shuddha Malhar (mR(m)RP, SDPm); along with the pakad above (Parrikar)

—Ramashreya Jha ‘Ramrang’ (1989)—

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

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• Classifiers •

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

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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

Thaat: 10 | 32 | Enclosed | Inexact

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

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

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

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

Samay: Morning | Aftern. | Eve. | Night

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

Also compare to other members of the Malhar and Bilawal ragangas

–Swara Geometries–

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• Core form: S–R–G–m–P–D–nN–S

• Reverse: SrRgmPdnS (=Gandhari)

• Complement: SrgMdS (=Firozkhani Todi)

• Imperfect: 1 (Ni)

• Detached: none

• Symmetries: mirror (Gm—nN)

• Murchanas: Bihag set

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

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–Global Translations–

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• 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)

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o • o • o o • o • o o o o

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• Tanpura: Sa–Pa

• Names: Arun Malhar, Aron Malhar

• Transliterations: Hindi (अरुण मल्हार)

—Vishnu Sewak Mishra (~1970s)—