Skip to content

Rag Malkauns

by David Courtney working tools

Ragmala of malkauns
Ragmala Painting of Rag Malkauns from the Mewar school (circa 1605)

Description

Rag Malkauns (A.K.A. Malkosh) is a very popular rag in the North Indian system (Hindustani Sangeet).  In the South it is known as Hindolam.  It is a pentatonic rag that has has the five notes Sa, Komal Ga, Ma, Komal Dha, and Komal Ni.  One would think that with so many komal (flat) notes that it would have a strong minor quality about it.  However, upon close examination we see that the absence of the fifth and the strong presence of the fourth causes the mind to “invert” it.  Therefore, it tends to sound surprisingly similar to Dhani to which it has a murchana relationship.

Malkauns has a long history, and it appears to have undergone numerous changes over the centuries.  It is said that Malkauns is derived from Malav Kaushik.  However, modern Malkauns has no resmblence to this ancient rag.

The mood is meditative, perhaps even sad.  Therefore, it tends to be played in slow to medium speeds.

The modality of Malkauns is not shared with any other rags.  Therefore there is really no need to go beyond the basic mode in order to define Malkauns.


Arohana

Ascending structure for Malkauns

(general discussion of arohana)(general discussion of notation)


Avarohana

Descending structure of Malkauns

(general discussion of avarohana)


Jati

Audav – Audav – (general discussion of jati)


Vadi

Ma – (general discussion of vadi)


Samvadi

Sa – (general discussion of samvadi)


Time

Midnight – (general discussion of time and rag)


That

Bhairavi That – (general discussion of that)


Drone

Sa – Ma – (general discussion of drone)


Popular Songs

Film Songs in Rag Malkauns


Selected Video



Other Sites of Interest

Indian Classical Music: Tuning and Ragas

Modes and Ragas: More Than just a Scale

Emotional responses to Hindustani Raga music: The role of mus­ical struc­ture

Automatic Raga Recognition in Hindustani Classical Music

Patrick Moutal. A Comparative Study of Selected Hindustānī Rāga-s based on Contemporary Practice

Automatic Tonic Identification in In­dian Art Music: Approaches and Evaluation