An ancient Malhar variant, 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 again only in the sketchiest of terms”. Described as a mix of Bilawal, Gaud Malhar, and Shuddha Malhar, seasoned with “a Tilang-like tonal phrase, provid[ing] a very pleasing effect”. Modern-era renditions are rare.
—Ramashreya Jha ‘Ramrang’ (1989)—
• Classifiers •
Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):
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! [out 2023]
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!
everything 100% ad-free and open-access