Maligoura | SrGMPdDNS | Hindustani Raga Index

S-r-G-M-P-dD-N-S

A sandhiprakash raga which draws on Puriya, Gauri, Marwa, and Shree. Depending on rendition, Dha may be komal (Ali Akbar Khan), shuddha (Ramprapanna Bhattacharya), or double (Khadim Hussain Khan) – with considerable cross-gharana variance in characteristic phraseologies. Maihar sarodiya Sayak Barua states that “NDNrNP is the heart of the raga”, and, as per Manjiri Asanare-Kelkar’s superb breakdown, the Jaipur-Atrauli incarnation is “a mix of Gauri, Puriya, and a little bit of Kalyan”. While popular in Kirtan and other Sikh devotional forms, Maligoura is only performed semi-regularly on the classical stage – with the most prominent recording being a 1989 Ali Akbar Khan album (gat transcribed below). Also see Dhavalshree (prakriti with the double-Dha Maligoura).

—Ali Akbar Khan (1989)—

[theme, e.g. 10:58] P P N(D), D(P), P(M), (G)r G, GMPP, P P, N(D), D(P), P(M), (G)r G, SrS P, P…

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Histories, melodies, mythologies, etc…

—Manjiri Asanare-Kelkar: Amodini—

Here’s a transcription of Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s demo lesson, covering her tradition’s incarnation of the raga (from her superb Amodini: The Joy of Rare Ragas series):

“Namaskar, today I am going to talk about Maligoura. I will begin with the bandish: rN rGrS, MGrS, SND, NrG, G(MPMG)M MGrS, MG(M)P, P(DNSND)P (M)G, GrG MGr(N), MGrS, SNSrG, M(DM)DNS, S SNrS, SN NrNDN P(MP)MG, rG GMGrS, NrG, P(DN)S NDN(D)PM MG, MGrS, NrS, MGrS, SND, NrG rS.

Maligoura is a combination of Gauri and Puriya – and you will also find a little bit of the Kalyan-ang included in this combination. I will explain the phases with reference to the bandish:

In this part, you will find Gauri: NSrSN rG, rGMP PMG, MGrGrS
Here, you will find Puriya: NDrN, MDNrS, MNN(P)M, GMG, MG(MG) NrS
Puriya is also in this phrase: MDNrS, SNrN, DrNMG, MGr(Nr)S
And now the Kalyan-ang phrase: MNDN DP, NDP, MMG, MDNDP, MG

Now we join these phrases to get the full structure: NrGMP, MGrGMP, PDP DMG MGrG, MGrS, rSN, DrNMG, MGrGrS, P PNDP, MG, MDN, NDP G, MGrGMP, PGMG, GrGrS, MDS NrS, DNrGrS, rN, MDNrN DNDP, PDNDP, MGrG, MNPMG, MGrS. As this is a complex raga, there are different versions of it. I will conclude with a bandish in adha tintal…”

—Maligoura (Amodini demo)—

Also see Manjiri’s other Amodini demos: Abhogi Kanada, Bahaduri Todi, Baradi, Dagori, Dev Gandhar, Gauri, Hussaini Todi, Jait Kalyan, Jaitashree, Kabiri Bhairav, Kaunsi Kanada (Nayaki-ang), Khat (Asavari-ang), Khokar, Lalita Gauri, Lanka Dahan Sarang, Malavi, Maligoura, Mudriki Kanada, Ramdasi Malhar, Raisa Kanada, Shukla Bilawal, Sughrai, Suha, Vihang

• Recent Raga Index Updates (Jan 2026): Added new ragas: e.g. Asa, Basant Bahar, Badhans Sarang, Bayati, Chandni Todi, Chandraprabha, Deepavali, Firozkhani Todi, Gaud, Japaniya, Kaushiki, Latangi, Maru, Palas, Sarangkauns, Shivanjali, Shrutivardhini • ‘Bifurcations‘: analysis via ‘poorvang + uttarang’ formulas • DoGa Kalyan & the Beatles’ Blue Jay Way • Amir Khan’s ‘168 merukhands’ • Uncovered Prabhateshwari‘s origins • Transcribed Manjiri Asanare-Kelkar’s ‘Amodini‘ lec-dems • Experiments (e.g overtonal Bhairav, jazz Malkauns) • Survey of Sa Tunings • More Masterlist ragas (1000+)

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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

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

Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Dhavalshree

–Swara Geometries–

• Core form: S–r–G–M–P–dD–N–S

• Reverse: SrgGmMdNS

• Negative: 4-1-2-5

• Imperfect: 2 (Pa, dha)

• Detached: none

• Symmetries: none

• Murchanas: none

–Global Translations–

• Carnatic: ~Gamanasrama

S-R₁-G₃-M₂-P-D₁-D₂-N₃-S

• Jazz: Lydian b2 (dbl. 6th)

1-b2-3-#4-5-b6-6-7-8

• Pitch classes (‘fret-jumps’):

0-1-4-6-7-8-9-11-0

(1–3–2–1–1–1–2–1)

o o • • o • o o o o • o o

• Tanpura: Sa–Pa

• Names: Maligoura, Maligaura, Marugaura, Mali Gaura, Maalee Gauraa

• Transliterations: Hindi (माली गौरा); Punjabi (ਮਾਲੀ ਗਉੜਾ)

—Raghunandan Panshikar (2023)—

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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!