Megh/Megh Malhaar

One of the oldest ragas known for its grandiose and expansive persona, Megh is considered the king of Monsoon ragas. The word ‘megh’ means clouds. Interestingly, this pentatonic melody is heard in the far east across the boundaries of several countries. There are several interpretations of the raga. The most popular version is discussed here.     

Thhaat (parent scale)

Kafi

Jaati:

Audav (5-notes in bothe ascent and descent)

Vaadi:

Shadja (S)

Samvaadi:

Pancham (P), according to some Madhya (M)

Swaras:

Emphasises Rishabh ( R )with a touch of Madhyam (M), completely avoids Gandhaar (G) and Dhaivat (D) and deploys Komal Nishaad (n) in both aaroh (ascent) and avaroh (descent); rest shuddh swaras

Aaroh (ascent):

S R M P n S’ (Western Notes: C D F G A# C’)

Avaroh (descent)

S’n P M R S (Western Notes: C A# G F D C)

Key phrases:

R R, RM R S, n.P.S n.S R, R M R, P M R, M P n P n S’, n S’R’M’R’S’, n P S’, n P M R R S

Time:

Any time during Monsoons, or midnight 

Despite its similarities with Carnatic raga Madhyamaavati and Hindustani raga Madhmaad Saarang, Megh stands out on its own due to its oscillating Rishabh ( R ), somber character and heavy movements. One version of Megh fleetingly uses Dhaivat (D), while other two versions include oscillating Komal Gandhaar (g) in the phrase g M R S, either with Malhar-ang or Kanada element. The latter versions have adopted the name Megh Malhar in a more pronounced manner in recent times. 

Bibliography

Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
 The Oxford Encyclopaedia of the Music of India
Ustad Amir Khan, Pioneer of Indore Gharana by Pandit Tejpal Singh
The Raga-ness of the Ragas by Deepak Raja

Links

1.      Ustad Faiyaz Khan (vocal)

2.      Ustad Zia Mohiuddin Dagar (rudraveena)

3.      Ustad Amir Khan (vocal)

4.      Pandit Shivkumar Sharma (santoor)

5.      Pandits Rajan and Sajan Mishra (vocal)

6.      Ustad Rashid Khan (vocal)

Hindustani, Kafi, Megh, Megh Malhaar, Midnight, Monsoon