Maluha (Kalyan) | SRGmPDNS | Hindustani Raga Index

S-R-G-m-P-D-N-S

Maluha (‘Tearful’) is compound raga which draws on forms including Kamod and Shyam Kalyan. Tivra Ma and komal ni are mostly restricted to ornamental use (e.g. GP(MDPM)P), and the avroh may feature touches of Khem Kalyan and other proximate forms. The liner notes to a 1966 Nikhil Banerjee album describe Maluha Kalyan as “an evening raga composed by [Banerjee’s guru] Ustad Alluaddin Khan…a mixture of Maluha Kedar and Yaman, symbolising the mood of devotion”. Most prominently performed by Banerjee: e.g. a 1975 NCPA concert and a filmed take from the early 1980s, both featuring Anindo Chatterjee on tabla (“one of the rarest ragas performed by the sitar maestro..like a sandstone castle building up tier upon tier, Banerjee builds the edifice of the raga through the jor and jhalla…”). Also interpreted by sarodiya Buddhadev Dasgupta, as well as vocalists Sharafat Hussain Khan and Acharya Jayanta Bose. Not to be confused with the overlapping Maluha Kedar (n.b. Ali Akbar Khan’s supposed rendition is in fact a deviant form of Medhavi, and Amir Khan’s appears to be Hem Kalyan). Compare to other members of the Kalyan raganga.

—Nikhil Banerjee (~1980s)—

[gat, e.g. 18:54] S(NSN) R S(NSD), (n)D, mPD (N)S; S(NSN) RG(RGm) G R(GRS), N(RSNS), n(DnDnD), D mPD, S…

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• 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+)

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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

#raga #jazzguitar #indianmusic #icm #londonmusic

Sep 30

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

#raga #jazzguitar #indianmusic #icm #londonmusic

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

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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: Bilawal thaat, Bilawal, Bihari, Tilak Kamod, Nat, Hem Bihag, Savani, Swanandi, Gagan Vihang, Mand, Chaya Malhar, Hemant, Loom, Manjari Bihag

Also compare to other members of the Kalyan raganga

–Swara Geometries–

• Core form: S–R–G–m–P–D–N–S

• Reverse: SrgmPdnS (=Bhairavi)

• Complement: SrgMdnS (=Mangal Gujari)

• Imperfect: 1 (Ni)

• Detached: none

• Symmetries: mirror (R—d)

• Murchanas: Bilawal set

• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’) • ‘Pa-repeating‘ (poorvang and uttarang take the same ‘semitone shape’)

–Global Translations–

• Carnatic: ~Sankarabharanam (mela #29)

S-R₂-G₃-M₁-P-D₂-N₃-S

• Jazz: Major / Ionian

1-2-3-4-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-2-4-5-7-9-11-0

(2–2–1–2–2–2–1)

o • o • o o • o • o • o o

• Tanpura: Sa–ma

• Names: Maluha, Maluka Kalyan, Malava Kalyan

• Transliterations: Hindi (मलुहा कल्याण)

—Acharya Jayanta Bose (2019)—

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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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