S-R-g-m-P-D-nN-S Derived from the Sanskrit for ‘banishing uncleanliness’, the Malhar family is inextricably linked to the rejuvenating effects of rain. The main raga of this lineage is named ‘Miyan ki Malhar’ for its fabled connections to Miyan Tansen, the great composer of Emperor Akbar’s 16th-century royal court, who is said to have sung it to […]
• Raag Miyan ki Malhar •
• Raag Megh (Malhar) •
S-R-m-P-n-S Among the oldest surviving members of the Malhar family, Megh (‘Cloud’) is said to have saved the life of Miyan Tansen himself. Legend holds that the great composer’s powerful rendition of the fire-bringing Deepak caused the oil lamps in Emperor Akbar’s 16th-century royal palace to ignite and burn uncontrollably – and, soon, all the […]
• Raag Ramdasi Malhar •
S-R-gG-m-P-D-nN-S A diverse sankirna raga, fabled as a creation of Guru Ram Das – a 16th-century Sikh saint said to have opened Emperor Akbar’s eyes to the unity of the divine (“these jagirs [feudal land grants] are sources of evil passions, pride, and ego…it is by the name of God that all creatures, continents, worlds, […]
• Raag Gaud Malhar •
S-R-G-m-P-D-nN-S An ancient blend of Shuddha Malhar and the now-dormant Gaud, also seasoned with shades of Alhaiya Bilawal, which finds mention in medieval works such as Shrikantha’s Rasakaumudi treatise (published circa 1575). Parrikar highlights the “strong, glowing ma”, which serves to join a Gaud-like poorvang (SRGm, mGmPm) to uttarang phrases from Shuddha Malhar (mP(S)DS) and […]
• Raag Kamod •
S-R-G-mM-P-D-N-S An intricate raga which draws together elements from many others (Tanarang: “this dynamic melody is rather complex…one can see clear shadows of Malhar [SmRP], Hameer [GmDP], and Kalyan [SRS, SDP], together with glimpses of Kedar [MPDP] and Chayanat [PDPS, SRS]”). Distinguishing sequences include RRP, GmPGmRS, the taar Sa is accentuated with long P/S slides, […]
• Raag Surdasi Malhar •
S-R-m-P-D-nN-S A combination of melodies from the Malhar and Sarang ragangas, said to have been created by Saint Surdas: a blind 16th-century poet-musician renowned for his evocations of Krishna amidst themes of shringara and bhakti. The raga which bears his name is described by Tanarang as “uttarang-pradhan, with general movement around taar Sa…[lyrics] are dominated […]
• Raag Barwa •
S-R-g-m-P-D-nN-S An Agra gharana speciality, Barwa blends ideas from Kafi (mP, mgR; mPDNS), Sindhura (SRmP; Pg), Desi (RPRg), and Miyan ki Malhar (nDNS). The komal ga tends to be omitted in aroha, and ma is rendered deergha, while the Malharic Re–Pa pair is often given as the vadi-samvadi. Traditionally associated with the late morning hours, […]
• Raag Arun Malhar •
S-R-G-m-P-D-nN-S A rare and ancient Malhar variant, said to be marked out by a DDnPDGPm pakad. As per Rajan Parrikar, “although it finds a mention in Bhatkhande, no details are forthcoming – there are a couple of other works where the raga is treated, but only in the sketchiest of terms”. Described as a mix of […]
• Raag Bahar •
S-R-g-m-P-D-nN-S As per Tanarang, Bahar (‘Spring’) “brings out nature’s beautiful blessings…full of shringar and bhakti ras…khatkas and intricate taans are conducive to its dynamic, fleeting nature”. While rooted in the Kanada raganga, the raga features a Malharic twin-Ni, with the shuddha being more prominent. Bageshri hallmarks are also evident in the weak aroha Re, and the […]
• Raag Chanchalas Malhar •
S-R-g-m-P-nN-S Chanchalas Malhar (canchalas: ‘restless’, ‘flirting’, ‘fickle’) is an aprachalit stream of the monsoon family, seldom heard in the modern era. As per SIMA, the basic framework is derived from Megh, with other movements borrowed from Nayaki Kanada (e.g. mPnnP) – along with distinct srutis of komal ga and ni, both of which are raised […]
• Raag Shuddha Malhar •
S-R-m-P-D-S Perhaps the oldest surviving Malhar raga (‘shuddha’, as well as referring to ‘pure’ or ‘unaltered’ specific swaras, may also indicate a ‘primary’ or ‘original’ quality: as with the similarly-ancient Shuddha Basant), marked by “a ponderous gait and a meend-rich contour”. As per the accompanying notes to a K.G. Ginde lecture, Shuddha Malhar is distinguished […]
• Raag Shukla Bilawal •
S-R-G-m-P-D-nN-S A traditional Bilawal prakar, marked out by phrase patterns such as SGGm, GmPm and a general focus on shuddha ma, also integrating movements from the Malhar, Kedar, and Khamaj families. Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s detailed demo breakdown (transcribed in full below) describes it as “a complex raga, with major phrases of Gaud Malhar and Bihagda […]
• Charju ki Malhar •
S-R-g-m-P-D-nN-S A diffuse branch of the Malhar lineage which exists in several modern forms. Pandit Jasraj, probably the raga’s most prominent interpreter, sings it as a Miyan ki Malhar variant with Desi-ang traits, including a distinctive treatment of shuddha Dha, which is emphasised in phrases such as mPDNS – echoed in Hemala Khare-Ranade’s recital preface […]
