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

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Maluha (‘tearful’) is compound raga which draws on 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. Most prominently performed by Nikhil Banerjee: e.g. a 1975 NCPA concert and a filmed show 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 khayal 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).

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—Nikhil Banerjee (~1980s)—

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

–Swara Geometries–

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• Core form: S–R–G–m–P–D–N–S

• Reverse: SrgmPdnS (=Bhairavi)

• Negative: 3-2-3-2-2 (e.g. Malkauns)

• Imperfect: 1 (Ni)

• Detached: none

• Symmetries: mirror (R—d)

• Murchanas: Bilawal set

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• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• Carnatic: ~Sankarabharanam

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)

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o • o • o o • o • o • o o

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• Tanpura: Sa–ma

• Names: Maluha, Maluka Kalyan, Malava Kalyan

—Acharya Jayanta Bose (2019)—