S-R-gG-m-P-D-n-S

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Roughly describable as a ‘Khamaj–ang Bageshri with a Rageshri-like shuddha Ga in aroha’, Malgunji is a multicoloured form, beloved by Gwalior vocalists (as well as Maihar sitarist Nikhil Banerjee). Some artists also feature a vivadi of shuddha Ni (often as mDNS, likely indicating the influence of Gara). Tanarang, aiming to evoke a “deep atmosphere”, gives a pakad of SDNSRGm – while Parrikar explains how the strong shuddha Ga and ma are applied in phrases such as GmD, while being balanced by Bageshri-style mgRS descents. Prakriti with Lankeshwari and Neelambari.

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• Raga Megalist (365+) •

राग मालगुंजी

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• Hindustani Raga Index •

Aroha: nS, DnSGm, DnS

Avroh: SnDPm, GmgRS

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Chalan: e.g. nS; DnSGm(n)DnS; DnSRGS; Gmg; RSnSnD; Pm; GmgRS; nS; DnS; gSm (Sharma)

—Jayshree Patnekar (2017)—

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[bandish, e.g. 1:25] (G)m (GmRGR)Gm S, SRGPD(nDnDP), P(D)P(Dn)D n(DnDPmG)m (mGmRG)m, m\g(mg) (SgS)RS, Smg/m(gm)S, nS(g)S, Dn SG(mGRG)m, m\g g/mR R (g)S, gS(gS)PnSG m…

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• More •

Histories, melodies, mythologies, etc…

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—Desi/Margi interplay—

Aarshin Karande’s 2024 recording of a classic composition by Anant Manohar ‘Antubuwa’ is a fantastic insight into Malgunji’s Mewati interpretation. In his own words, “Malgunji is a medieval raga, based on folk tunes of the Malwa region (‘Malav+ Gunj’: ‘Resound of Malwa’). There are several approaches: the Mewati gharana views it as a compound of Khamaj and Gara; ragas from the ‘Desi‘ [folk music] tradition. The transitions between both ragas offer shades of Rageshri and Bageshri; ragas from the ‘Margi‘ [formal music] tradition.”

 

“One can argue that Desi ragas (like Khamaj & Gara) enjoy further dynamism through the learning of more precise Margi ragas (like Rageshri & Bageshri). Malgunji has also been adapted into some of the most cherished Hindi cinema songs in the past century. This raga and bandish are presented humbly as an offering to the enduring genius of Pandit Antubuwa-ji…”

 

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—Aarshin Karande (2024)—

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[Raina Kari Daravan Lagi Re] “The darkness of the night frightens me; Without my love, who left in the middle of the night, despair has taken me; I must meet Krishna, my friend; As without him, I have no peace…”

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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: Bheem, Lankeshwari, Rageshri Kanada, Neelambari

–Swara Geometries–

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• Core form: S–R–gG–m–P–D–n–S

• Reverse: SRgmPdDnS

• Negative: 2-5-2-3

• Imperfect: 1 (Ga)

• Detached: none

• Symmetries: mirror (gG—Dn)

• 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: ~Natakurinji

S-R₂-G₂-G₃-M₁-P-D₂-N₂-S

• Jazz: Bebop Dorian (dbl. 3rd)

1-2-b3-3-4-5-6-b7-8

• Pitch classes (‘fret-jumps’):

0-2-3-4-5-7-9-10-0

(2–1–1–1-2–2–1–2)

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o • o o o o • o • o o • o

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• Tanpura: Sa–Pa

• Names: Malgunji, Malagunji, Malgunjari

• Transliterations: Hindi (मालगुंजी); Kannada (ಮಾಲ್ಗುಂಜಿ)

—Allauddin Khan (1930s)—