S-R-g-m-P-D-nN-S

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A diffuse branch of the Malhar lineage which exists in several modern forms. Pandit Jasraj, probably the raga’s most prominent interpreter, sings it as a Miyan ki Malhar variant with Desi-ang traits, including a distinctive treatment of shuddha Dha, which is emphasised in phrases such as mPDNS – echoed in Hemala Khare-Ranade’s recital preface (“Charju ki Malhar basically follows the chalan of Miyan ki Malhar, with a few phrases from Desi”). Other versions draw on a range of auxiliary ragas: Abhirang links his rendition to Sorath, Barwa, and Darbari, also mentioning the importance of using NS and gRgS in conclusion lines, and Ali Akbar Khan uses Dha as mPDNSNS, mPD(nD)P – while Moumita Mitra discusses two versions, the first of which is distinguished by the phrases RP(m)g; Rg(RS)RS; NSRSR and the second by mPDNS, RNSDnP (also listen to her own amalgamation of both forms). Subba Rao’s 1956 Raga Nidhi Vol.1 (p.139), which mentions “chayas of Sindhura”, highlights an unusual feature – describing the raga as audav–shadav in its aroha–avroh structure, but sampurna overall, with ga and Dha dropped in aroha and ma in avroh (n.b. while this isn’t particularly clear or consistent in the recordings above, there are shades of it in common phrases such as RmPnS; PgRgRS). Listed by Chandrakantha as being named after a historic musician known as ‘Charju’, although I can’t find any further info on either Charju or the raga’s origins. Compare to other rare Malhars such as Arun Malhar, Chanchalas Malhar, Gaudgiri Malhar, Tilak Malhar, & Tanseni Madhuvanti.

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राग चरजू की मल्लार

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• Hindustani Raga Index •

Aroha: SRmR, mRP, mPDNS

Avroh: SDnP, mPDnP, nPmgR, RgRS

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Chalan: e.g. mRPmg, Rg SR NSRSR, NSnDn, PSNSR, RSm, RPmRNSR, RPgRgSR NSRSR, RmPDmPmgR, RDmPmgR gRSRSNSR, RmPDmP, mPDnP, RPmPDnP, mPDNS DnP, mPDnP, nPmgR, RgSR NSRSR, RmPDmP, NNS, mPNSRnD mPg, RPmgRNS, NSRPmgR, gRSRSNS, RmPDmP, mPDNSRSNSDnP, PmgRgRS [Mitra combination]

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—Pandit Jasraj (2005)—

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[refrain, e.g. 0:01] mPDNS(NS) (P)nPP, mg(m) RS(nS)R S…

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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: Miyan ki Malhar, Barwa, Bahar, Bageshri Bahar, Sindhura, Sughrai, Hussaini Todi, Lanka Dahan Sarang

Also compare to other ragas from the Malhar and Kafi ragangas (as well as to other forms which fuse elements of both)

–Swara Geometries–

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• Core form: S–R–g–m–P–D–nN–S

• Reverse: SrRgmPDnS

• Complement: SrGMdS

• Imperfect: 2 (Dha, Ni)

• Detached: 1 (Ni)

• Symmetries: none

• Murchanas: Miyan ki Malhar set

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

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–Global Translations–

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• Carnatic: (~Kapi)

S-R₂-G₂-M₁-P-D₂-N₂-N₃-S

• Jazz: Dorian dbl. 7th

1-2-b3-4-5-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-2-3-5-7-9-10-11-0

(2–1–2–2–2–1–1–1)

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o • o o • o • o • o o o o

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• Tanpura: Sa–Pa

• Names: Charju ki Malhar, Charju Malhar, Charjuki Malhar

• Transliterations: Hindi (चरजू की मल्लार)

—Hemala Khare-Ranade (2022)—