Let me present a wonderful introduction to this raga by Pt Ramashrya Jha ‘Ramrang’ from the site (Playing this audio may require you to copy and paste the url in the browser’s address bar). Very rarely there can be an overlap with Bageshri in the use of sa, ga and ma, but the confusion doesn’t last more than a few seconds. Feed the five notes of Malkauns into a computer programme that plays them purely at random and the sound one hears will bear the unmistakable stamp of the raga. Once you get the notes right, there is little you can do wrong. Puriya-Marwa-Sohani, Bhopali-Deshkar, Darbari-Adana-Asavari are some examples. The same notes used differently can produce a completely different raga. With most ragas it is not enough to get the notes right, one has to be careful about the movement as well, or one risks straying into the territory of a different raga. I am using the north Indian terminology here: Of the remaining four notes ‘ga’, ‘dha’ and ‘ni’ can be either shuddha or komal, while ‘ma’ can be shuddha or teevra. The fundamental note ‘sa’ is always invariant. All these ragas omit the second note ‘re’ and the fifth note ‘pa’. There is an interesting relationship between the notes of Malkauns, the Carnatic Hindolam and the Hindustani Hindol and Hindoli as the following table shows. The Carnatic counterpart of Malkauns is Hindolam. Still, Malkauns (also known as Malkosh and Malkans) stands tall in this group for the depth, solemnity and gravity that characterise it. All of them are beautiful and Hindol also has a certain gravity. Bhopali, Durga, Bhinna Shadj,Īnd Kaushik-Dhwani Hamsadhwani, Hindol are some examples. In the Hindustani music terminology they are called audav-audav. There are many beautiful ragas that use only five of the seven notes in both ascent and descent. Finally, I am here to share my love for this great raga with the SoY family. I deliberately left out the greatest iconic song of all – Man tarpat hari darshan ko aaj in Malkauns, because I hoped to do a separate post on this raga. I began this series with ten iconic film songs in different ragas – songs that are good enough to be used by students of classical music to get an intuitive feel for the raga. Subodh carries his scholarship lightly with an easy and fluent style of writing. He surpasses himself with this outstanding article on one of the most popular and accessible ragas – Malkauns – which he describes as the greatest of pentatonic ragas. ( SoY readers are familiar with Subodh’s elegant writing on songs based on classical ragas.
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