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

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A blend of Shuddha Malhar and the now-extinct Gaud, which finds mention in Shrikantha’s 16th-century Rasakaumudi treatise. Parrikar’s analysis highlights the “strong, glowing ma”, which lies between a Gaud-like poorvang (SRGm, mGm, Pm) and uttarang phrases from Shuddha Malhar (mP(S)DS) and Bilawal (PPNDNS). Other Malharic material includes m(m)R; (m)RP, although some argue for the exclusion of Miyan ki Malhar’s nDNS phrase, given this raga’s status as a later invention (“the Malhar purist considers it at best superfluous, and at worst injurious…”). Dhrupad musicians often include both forms of Ga, while others may render the swara komal or omit it entirely – and a less frequent form of the raga is in existence, which 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

–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)

—Buddhadev Dasgupta (1990)—