Malkauns
 | |
| Thaat | Bhairavi (or Asavari) |
|---|---|
| Type | Audava |
| Time of day | Late night, 12–3 |
| Arohana | Ṉ̣ S G̱ M Ḏ Ṉ Ṡ |
| Avarohana |
|
| Synonym |
|
| Equivalent | Hindolam |
| Hindustani classical music | ||||||
|---|---|---|---|---|---|---|
| Concepts | ||||||
| Instruments | ||||||
|
||||||
| Genres | ||||||
|
||||||
| Thaats | ||||||
| Part of a series on |
| Hindu scriptures and texts |
|---|
 |
| Related Hindu texts |
Malkauns, known also as rag Malkosh,[1] is a raga in Indian classical music. It is one of the oldest ragas of Indian classical music.[2] The equivalent raga in Carnatic music is called Hindolam, not to be confused with the Hindustani Hindol.
According to Indian classical vocalist Pandit Jasraj, Malkauns is a raga that is "sung during small hours of the morning, just after midnight." He further adds that the raga has a soothing and intoxicating effect.[3]
Non-Film/Album Songs
[edit]| Song | Language | Album | Year | Composer | Lyricist | Singer | Audio Label |
|---|---|---|---|---|---|---|---|
| Karpanai Endralum | Tamil | Lord Muruga T M Sounder Revival | 1999 | M S Viswanathan | Vaali | T M Soundararajan | saregama |
| Narudu Gurudani | Telugu | Namo Venkatesaya[4] | 2019 | Mahesh Mahadev | Kaiwara Sri Yogi Nareyana | S. P. Balasubhramanyam, Priyadarshini,
Mahesh Mahadev, Raghuram |
PM Audios |
| Niladri Natham | Sanskrit | Jagannath Bhakti Rath Yatra | 2023 | Siba Prasad Rath | Dr. Ruru Kumar | Abhilipsa Panda | Times Music Spiritual |
Etymology
[edit]The name Malkaush is derived from the combination of Mal and Kaushik, which means he who wears serpents like garlands – the god Shiva. However, the Malav-Kaushik mentioned in classical texts does not appear to be the same as the Malkauns performed today.[5] The raga is believed to have been created by goddess Parvati to calm lord Shiva, when he was outraged and refused to calm down after Tandav in rage of Sati's sacrifice.[3]
In Jainism, it is also stated that the Raga Malkauns is used by the Tirthankaras with the Ardhamāgadhi Language when they are giving Deshna (Lectures) in the Samavasarana.
Malkaush belongs to Shaivait musical school; in fact most pentatonic ragas belong to Shaivait musical school.[2]
His mace running with blood, garlanded with skulls of heroes, Malkaush surrounded by braves and bravest of the brave!
Arohana and Avarohana
[edit]Malkauns belongs to the Bhairavi thaat. Its notes are Sa, komal Ga, shuddh Ma, komal Dha, and komal Ni. In Western classical notation, its notes can be denoted as: tonic, minor third, perfect fourth, minor sixth and minor seventh. In raga Malkauns, Rishabh (Re – second) and Pancham (Pa – perfect fifth) are completely omitted. Its jaati is audav-audav (five-five, that is, pentatonic).[6]
Arohana : Ṉ̣ S G̱ M Ḏ Ṉ Ṡ
- S Ṉ Ḏ M G̱ M G̱ S
- S Ṉ Ḏ M G̱ S
The 'Ga' used is actually Ga-Sadharan (the rough minor third), 316-cent above Sa.[7] This corresponds to the note ga2, in the 22 shrutis list, with a factor of 6/5.
Vadi and Samavadi
[edit]The vadi swara is Madhyam (Ma) while the Samavadi swara is Shadaj (Sa).
Pakad or Chalan
[edit]Pakad : G̱ M Ḏ M G̱ M G̱ S
Other characteristics
[edit]
Malkauns is a serious, meditative raga, and is developed mostly in the lower octave (mandra saptak) and in a slow tempo (vilambit laya). Ornaments such as meend, gamak and andolan are used rather than 'lighter' ornaments such as murki and khatka. Komal Ni is generally considered the starting note (graha swara), and the notes komal Ga and komal Dha are performed with vibrato (andolit). All five swaras can function as pausing notes.
The komal Ni in Malkauns is different from the komal Ni in Bhimpalasi.
The best time for this raga is late night. The effect of the raga is soothing and intoxicating.
In teaching this rāg to students in the early 1980s, Ali Akbar Khan confirmed that Malkaush is a midnight rāg of Bhairavi thaat, Aurav jati, with moods of devotion, peace and heroism. He remarked: "Djinni like this rāg" and "At first makes you sleepy, then gives you energy to move mountains." A lakshan geet (song that describes the characteristics of the raag) taught by Khansahib relates that Malkaush is one of the six original male ragas (thus ancient) and that its rasas (roughly "moods") are devotion and heroism [tala: Ada Chautāl]:
Che ragŏ mĕ se eka rāga / Bhakti rasa, vira rasa / Mālakosha kehārvata / Vadī swara madhyamano samavādi sarajamano arohi SgmdmS avarohi nSSndmSndmgmgs
List of ragas in the Kauns family
[edit]The unique musical structure of Malkauns has given rise to many variations, creating what may be called a 'Kauns' family of related ragas.
- Chandrakauns
- Bageshri-Ang Chandrakauns
- Nandkauns
- Sampoorna Malkauns
- Pancham Malkauns
- Gunkauns
- Madhukauns
- Jogkauns
- Nirmalkauns
- Tulsikauns
Film songs
[edit]'Man Tarpat Hari Darshan Ko Aaj' (film Baiju Bawra, performed by Mohammad Rafi), 'Aadha Hai Chandrama Raat Aadhi' (film Navrang, performed by Mahendra Kapoor and Asha Bhosle), 'Chham Chham Ghunghroo Bole' (film Kaajal, performed by Asha Bhosle), 'Ankhiyan Sang Ankhiyaan Laagi Aaj' (film Bada Aadmi), 'Balma Maane Na' (film Opera House) and 'Rang raliyaan karat sautan sang' (film Birbal My Brother), 'Ek Ladki Thi' (film Love You Hamesha, performed by Kavita Krishnamurti) are a few Hindi film compositions based on Malkauns. 'Rajasekhara' in the film 'Anarkali' in Tamil and Telugu is a composition based on this in South India. "Ohm Namashivaya" and "Margazhi Poove" songs in Tamil by Ilaiyaraaja and AR Rahman from Salangai Oli and May Madham respectively,""Neenu Neene" song from the movie Gadibidi Ganda, "Ra Ra" song in the movie Apthamitra in Kannada are also the best examples.
Tamil Film Songs
[edit]Note that the following songs are composed in Hindolam, the equivalent of raga Malkauns in Carnatic music.
Compositions of Hindustani Classical Music
[edit]| S.No | Bandish Type | Bandish Initial Bol | Composer Author | Taal |
|---|---|---|---|---|
| 1 | Dhrupad | Aadi Brahma Aadi Naad
आदि ब्रह्म आदि नाद[8] |
Acharya Pt Gokulotsavji Maharaj | ChouTaal |
Important recordings
[edit]- Amir Khan, Ragas Hansadhwani and Malkauns, HMV LP (long-playing record), EMI-EASD1357
- Mekaal Hasan Band's Maalkauns from the album Andholan is also based on this.
- Ustad Mubarak Ali Khan presented it in a popular bandish "Aaj more Ghar aaye na Balma[9]"
References
[edit]- ^ music., Jairazbhoy, Nazir Ali, 1927-2009. Rags of North Indian (1971), Examples of North Indian rags played by Vilayat Khan (Sitar) : a recorded supplement to 'The rags of North Indian music'., Faber and Faber Ltd, OCLC 225669821, retrieved 12 January 2022
{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link) - ^ a b c Daniélou, Alain (1968). The Rāgas of northern Indian music. Barrie and Rockliff, London. p. 324. ISBN 0-214-15689-3.
- ^ a b "Indian classical music: Different kinds of ragas". The Times of India. 29 September 2016. Retrieved 10 May 2021.
- ^ "Namo Venkatesaya – Single by Mahesh Mahadev, Priyadarshini & S. P. Balasubrahmanyam". Apple Music. Retrieved 5 September 2020.
- ^ Bagchee, Sandeep (1998). Nād: Understanding Rāga Music. BPI (India) PVT Ltd. p. 300. ISBN 81-86982-07-8.
- ^ Sonneck, Oscar George (1985). The Musical quarterly. p. 160. Retrieved 26 May 2021.
They are set to one of the most widely performed ragas in North India, the pentatonic midnight raga Malkauns. The most important notes of Malkauns are Sa (the tonic) and Ma (the fourth). Both the gats and the tihais "cadence" on one of ...
- ^ Gosvami (1957) p. 236 f.
- ^ Māthura, Nītā. (2011). Śāstrīya saṅgīta ke sūrya : Ācārya (Paṃ.) Gokulotsava Jī Mahārāja : saṅgīta sevā, śāstra cintana evaṃ bandiśoṃ kā saṅkalana (1. saṃskaraṇa ed.). Naī Dillī: Rādhā Pablikeśansa. ISBN 978-81-7487-765-9. OCLC 769743702.
- ^ "Raag malkauns ali Mubarak khan". Retrieved 27 September 2023 – via YouTube.
External links
[edit]Literature
[edit]- Gosvami, O. (1957), The Story of Indian Music, Bombay: Asia Publishing House