The name of this raga bears the identity of its creator, Miyan Tansen, the precious jewel of Emperor Akbar’s court; and the character of the raga reflects the regality of the time-period (16th century).
Thhaat (parent scale)
Kafi
Jaati:
Shaadav (6-notes in both ascent and descent)
Vaadi:
Madhyam (M) (or Pancham (P) according to a few musicians)
Samvaadi:
Shadja (S)
Swaras:
omits Gandhaar (G) in ascent and Dhaivat (D) in descent, employs Komal Gandhaar (g) and both Nishaads, rest shuddh swaras
Aaroh (ascent):
S, n.D N.S, M R P, M P, n-D N S’ (Western Notes: C A# A B C, B C F D G, F G, A# A B C)
Avaroh (descent)
S’ n P, M P, g-M R S (Western Notes: C A# G, F G, D# F D C)
Key phrases:
N.S R S, D.n.P., M.P.n.-D.N.S, R P, g-M R S, M R P, n D N S’, R’N S’, R’M’R’S’, N S’R’, D n P, M P n, g-M P, g-M R S
Time:
Any time during Monsoons, or midnight
Since time immemorial, Malhaar is a popular Monsoon melody of the Ganga-Yamuna belt. Full of zest, its persona is very much like that of the raga Bahaar. Tansen’s regal touch transformed it into a heavy, majestic character. Thr swaying Komal Gandhaar (g) and the presence of both the Nishaads, albeit separated by Shuddh Dhaivat (D) in n D N S’ phrase, give it a brooding character. Some musicians deploy the two Nishaads one after the other (n N S) without disturbing the raga; but this juxtaposed use of swaras should be avoided.
Bibliography
- Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
- The Oxford Encyclopedia of the Music of India
- Ustad Amir Khan, Pioneer of Indore Gharana by Pandit Tejpal Singh
Links
1. Ustad Asad Ali Khan (rudra veena)
2. Ustad Amir Khan (vocal)
3. Pandit Pannalal Ghosh (flute)
4. Ustad Amjad Ali Khan (sarod)
5. Ustad Vilayat and Imrat Khan (surbahar)
6. Ustad Rashid Khan (vocal)
Pandit Budhaditiya Mukherjee performing the monsoon raga, Miyan ki Malhar, with Soumen Nandy (tabla) in 2017 at The Rajbari Bawali, Kolkata, West Bengal, India.
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