S-G-P-S

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Often said to comprise only three swaras (a SGP major triad), Malashree pushes the bounds of raga definition. Arguably, this challenge is its defining purpose, calling on performers to find expressive freedom within an ultra-limited framework (as per Dagarvani beenkar Bahauddin Dagar, “We do not believe in ‘small’ vs. ‘big’ ragas: Malashree for example has just three notes…but I have heard an elaboration from my uncle without any repetition”). In practice, this often leads artists to push the raga’s own bounds instead, including Kalyanic touches of tivra Ma and shuddha Ni as grace notes to support Pa and Sa from below – although Ali Akbar Khan’s rendition stays mostly faithful to the basic triangular concept. Counterintuitively, Malashree’s intervallic simplicity makes it harder to play on single-baaj instruments such as the sitar, which permit only wide-spaced jumps and bends between swaras. Allows – or, perhaps, demands – plenty of space for expansive tabla accompaniment (also listen to a fantastic tabla tarang interpretation by Kamalesh Maitra). Compare to Jait Kalyan (which often follows Malashree’s SGPS swara-set in aroha) and Bhavani (the most prominent ‘4-swara raga’) – as well as the mysterious Jaldhar Sarang, listed on p.147 of Rao’s Raga Nidhi Vol.2 as using only the swaras SRnS, with the Re and ni srutis ‘squeezed closer to Sa’ (although I can’t track down any recordings…any experimental performers out there who might want to create one?).

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• Raga Masterlist (1000+) •

राग मालश्री

Search | Glossary | Tags

• Hindustani Raga Index •

Aroha: SGPS

Avroh: SPGS

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Pakad: variable, e.g. PGPG; SPS

Chalan: (open-form)

—Ali Akbar Khan (1982)—

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[gat, e.g. 16:36] S SS, PGPG, SGG, PPS…

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• Ragmalas •

Historic miniature paintings (learn more)

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“Malasri Ragini with five female attendants, one presenting a green bird…” (Penn, c.1800)

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“Malasri Ragini, wife of Bhairava, is depicted as a beautiful woman preparing a bed in a garden, on which she scatters lotus petals. The mood is of beauty created in anticipation of a perfect lovers’ tryst…” (Rajasthan, c.1620) / “Malasri Ragini from the Chunar series: opaque watercolor and gold on paper” (Bundi, c.1591)

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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: (none found)

Also compare to other members of the Kalyan raganga

–Swara Geometries–

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• Core form: S–G–P–S

• Reverse: SmdS

• Complement: SrRgmMdDnNS

• Imperfect: 2 (Ga, Pa)

• Detached: 1 (Ga)

• Symmetries: none

• Murchanas: none

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• Quirks: ‘samika‘ (only 3 swaras) • ‘atritonal‘ (no available tritones) • ‘consecutive varjits‘ (all forms of Dha & Ni are omitted)

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–Global Translations–

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• Carnatic: (~Suddha Saveri)

S-G₃-P-S

• Jazz: Major Triad 

1-3-5-8

• Pitch classes (‘fret-jumps’):

0-4-7-0

(4–3–5)

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o • • • o • • o • • • • o

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• Tanpura: Sa–Pa (+Ga)

• Names: Malashree, Malashri, Malasri, Malavasri (historic)

• Transliterations: Hindi (मालश्री); Bengali (মালশ্রী)

—Rajan & Sajan Mishra (~1990s)—