S-R-gG-m-P-D-n-S
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.
• Raga Masterlist (1000+) •
राग मालगुंजी
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• Hindustani Raga Index •
Aroha: nS, DnSGm, DnS
Avroh: SnDPm, GmgRS
Pakad: e.g. DnS; SGmD; GmPmgRS
Chalan: e.g. nS; DnSGm(n)DnS; DnSRGS; Gmg; RSnSnD; Pm; GmgRS; nS; DnS; gSm (Sharma)
—Jayshree Patnekar (2017)—
[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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Histories, melodies, mythologies, etc…
—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…”
—Aarshin Karande (2024)—
[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…”
• Recent Raga Index Updates (Oct 2026): Melodic ‘snapshots’ of prachalit ragas • Up to 365 raga pages! Some highlights: Bayati, Basant Mukhari, Bilaskhani Todi, Chandranandan, DoGa Kalyan, Jog, Kalavati, Kaushiki, Malkauns, Maru, Meladalan, Parameshwari, Sarangkauns, Vachaspati (+ try out ‘Audav Meladalan‘) • What does ‘Kauns’ mean? Analysing 60+ Kauns ragas • ‘Bifurcations‘: ‘poorvang vs. uttarang’ splits • Amir Khan’s ‘168 merukhands’ • Experiments (e.g. overtonal Bhairav, jazz Malkauns) • Survey of Sa Tunings • More Masterlist ragas (1000+)
Multi-step meend in Raag Bageshri: some riyaz improv in one of my all-time favourite ragas
#raga #jazzguitar #indianmusic #icm #londonmusic
Sep 30
E8 Boogie (Squarepusher): @sqpusher did I get them right? Tried to work out guitar voicings for this curious chord sequence in E8 Boogie (…originally at the request of a student!)
Original: Squarepusher/Tom Jenkinson (from 1997’s Hard Normal Daddy)
#jungle #jazzguitar #warprecords #idm #dnb @warprecords
Sep 27
Raag Jaiwanti Todi (SrgmPDnS): An Ahiri-prakriti raga introduced by Maharaja Jaiwant Singh Waghela (1904-1980): the hereditary ruler of Sanand who gained wide renown as a spiritual teacher, vocal educator, and generous patron of the nascent Mewati gharana (also the creator of Gyankali and other ragas). Sung here by his student Pandit Jasraj – a bandish I’ve always loved, especially the ferocious taan and colourful harmonium accompaniment…
—Original: Pandit Jasraj (khayal); Appa Jalgaonkar (harmonium); Nizamuddin Khan? (tabla)
#raga #khayal #indianmusic #worldmusic #icm
Sep 22
Raag Prabhateshwari (SrgmPDnS): A mysterious raga created by Hariprasad Chaurasia, played here by his nephew Rakesh – resembling a blend of the morning Ahir Bhairav and the late night Bageshri. I was inspired to learn the raga when researching Maa Annapurna Devi’s time teaching Hariprasad (many thanks to my crack team of experts including Rupak Kulkarni, Alam Khan, George Ruckert, Suresh Vyas, Anindya Banerjee, and Gopi Shanker, who all gave valuable assistance in illuminating the raga’s origins)
—Original: Rakesh Chaurasia (bansuri), live at Darbar 2008 @chaurasia_rakesh @darbarfestival
#raga #darbarfestival #indianmusic #bansuri #worldmusic
Sep 15
• Classifiers •
Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):
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
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: Bheem, Lankeshwari, Rageshri Kanada, Neelambari
Also compare to other members of the Khamaj raganga
–Swara Geometries–
• Core form: S–R–gG–m–P–D–n–S
• Reverse: SRgmPdDnS
• Complement: SrMdNS
• Imperfect: 1 (Ga)
• Detached: none
• Symmetries: mirror (gG—Dn)
• Murchanas: Bihag set
• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)
–Global Translations–
• 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)
o • o o o o • o • o o • o
• Tanpura: Sa–Pa
• Names: Malgunji, Malagunji, Malgunjari
• Transliterations: Hindi (मालगुंजी); Kannada (ಮಾಲ್ಗುಂಜಿ)
—Allauddin Khan (1930s)—
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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!
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