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).
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—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…
• 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
–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
—Vishnu Sewak Mishra (~1970s)—