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

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An ancient blend of Shuddha Malhar and the now-dormant Gaud, also seasoned with shades of Alhaiya Bilawal, which finds mention in medieval works such as Shrikantha’s Rasakaumudi treatise (published circa 1575). Parrikar highlights the “strong, glowing ma”, which serves to join a Gaud-like poorvang (SRGm, mGmPm) to uttarang phrases from Shuddha Malhar (mP(S)DS) and Bilawal (PPNDNS). Other Malharic material may include m(m)R; (m)RP – although some argue that ‘pure’ renditions should exclude Miyan ki Malhar’s distinctive nDNS phrase, given Miyan ki Malhar’s status as a later invention (Parrikar: “the Malhar purist considers it at best superfluous, and at worst injurious…”). Dhrupad musicians often include both forms of Ga, while others, as per Malhar scholar Dr. Geeta Banerjee, may render ga as komal or even omit it entirely (and an irregular form of the raga strays closer to Khamaj). Popular in filmi – and not to be confused with Gaudgiri Malhar.

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• Raga Megalist (365+) •

राग गौड मल्हार

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• Hindustani Raga Index •

Aroha: SRGm, GmRP, mPDNS

Avroh: SDnDP, GPmG, mRm, NRS

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Chalan: e.g. SRS; RGm; GmRP; mPDnP; mPDNS; RGm; RmnRS; SDnDP; GPmG; mGmR; m; NRS (Raja)

—Kishori Amonkar (2003)—

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[refrain, e.g. 0:47] mP P(DPDPmPDSNS), (SDP)mR m, (m)RS, R(N)S…

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• Ragmalas •

Historic miniature paintings (learn more)

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“Gauda Malhar Raga: from a folio” (Bundi, c.1750) / “Gaud Malhar Ragini: watercolour and gold on paper” (Bundi, c.1660)

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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

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.

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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, Sorath, Arun Malhar, Tilak Malhar

–Proximate Forms–

Khamaj = ‘Gaud Malhar only ni‘

Bilawal = ‘Gaud Malhar only Ni‘

Miyan ki Malhar = ‘Gaud Malhar komal ga‘

Shankara Karan = ‘Gaud Malhar tivra Ma‘

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

–Swara Geometries–

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• 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

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

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–Global Translations–

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• Carnatic: ~Bilahari

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 (+Ni)

• Names: Gaud Malhar, Gaur Malhar, Gormalhar (archaic)

• Transliterations: Hindi (गौड मल्हार); Bengali (গৌড় মল্লার)

—Buddhadev Dasgupta (1990)—