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 (Sep 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+)

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Guitar & global musicology on Instagram:

Multi-step meend in Raag Bageshri: some riyaz improv in one of my all-time favourite ragas

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Sep 30

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Multi-step meend in Raag Bageshri: some riyaz improv in one of my all-time favourite ragas

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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!)

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Sep 27

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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

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

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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

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

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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

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• 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: Dhavalshree

–Swara Geometries–

• Core form: S–r–G–M–P–dD–N–S

• Reverse: SrgGmMdNS

• Complement: SRgmnS

• 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!

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