Raag Malgunji

Posted on by docreshma

Ghazals based on the Raag:
Raag – Based Ghazals
Also see:
A Raag for each Season
🥰🥰🥰🥰🥰🥰🥰

About Raag Malgunji [By Dr Sajeev Anand]:

  1. Raag Malgunji is a very melodious raga, which is a combination of Rageshree, Khamaj, and Bageshree.
  2. This is a Khamaj Thaat Raga (Kafi Thaat by some), that uses both Nishads and both Gandhars. Rest all notes are Shuddh. Pancham is skipped in Aroah, and all notes are used in Avroah, making its Jati as Shadhav- Sampoorna.
  3. Like Rageshree and Bageshree, Vadi and Samvadi notes are Maddhyam and Shadaj respectively.
  4. This Raag is generally rendered in the first part of the night.
  5. Let’s look at its chalan now:

S R ‘n S R G…m, G m D n D P m G,

m D N S’, S’ n D P m D n D P m G, m g… R S,

R S ‘n ‘D ‘n S R G…m, m g… R S

It is of notice that Rishabh and Shuddh Nishad are used in Aroah to dampen the influence of Rageshree. Khamaj is added by making Shuddh Gandhaar prominent, and using phrases like

G m D N S’ and S’ n D P m D n D P m G.

  1. Bageshree is added in Avroah by using notes like m g…R S, ‘n ‘D ‘n S or sometimes using D (m) g… coupling. Notes to identify Malgunji in the Raag (Raag Vachak notes) are R ‘n S R G…m or ‘D ‘n S R G…m. Sometimes Rageshree is also brought out as ‘D ‘n S G m, by omitting Rishabh, m D n D m (omitting Pancham).
  2. Besides Shadaj, which is the Samvadi note, Rishabh is used as R ‘n S R G…m, or m G m g.. R S.
  3. Kamal Gandhar is only used in Avroah, and as Dheerga, m g… R S, or sometimes as D (m) g…R S, to bring out the Bageshree ang.
  4. Shuddh Gandhar is used to bring out the Khamaj influence as G m D n D P m G, S n D P m G, m D N S’ n D m G, ect.
  5. Maddhyam is the Vadi note, is used as Mukkta, or as Nyaas Bahutva (Nyaas in both Aroah and Avroah) as mentioned above.
  6. Pancham is only used in Avroah as n D P m G, or skipped as D m G, to bring out Bageshree. It’s use is Alp (small) in the Raga.
  7. Dhaivat is an important passing note that is used both in Both Aroah and Avroah as G m D N s’, or S’ n D n D P m
  8. Komal Nishad is used primarily in Avroah but also sometimes in Aroah, m D n S n D, m D n D P m G m g…R S, S R ‘n S R G m, as an important passing note, although it’s use is Alp.
  9. Shuddh Nishad is only used as G m D N S’, as mentioned above.
  10. Aroah: S R G m, D N S
  11. Avroah: S n D P m, G, m g R S
  12. Chief notes: R ‘n S R G…m, m g… R S
  13. Source: Raag Shashtra by Geeta Bannerjee, vol 1, Pages 167-169, various other sources)
  14. Synopsis: Ramashreya Jha “Ramrang”
  15. Read more: Short Takes: Bageshree

Emotions Evoked:

Malgunji, popularly described as being a combination of Rageshri (in the ascent) and Bageshree (in the descent). actually has several raag elements [including a few subtle touches of Jaijaivanti].

Rageshree is definitely a dominant feature of Malgunji, and Bageshree exists by virtue of the elusive Pancham and the gentle pathos of the komal Gandhar (flat third).

Bageshree traditionally evokes feelings of separation from the lover, whereas Rageshri represents a reunion, and so Malgunji depicts the initial realization of the reunion.

The feeling is repeatedly reaffirmed, constantly made present, by the ascending thrust of the Rishab (lacking in both Bageshri and Rageshri) and the blissful lingering on the Madhyam – the vadi (dominant) of Malgunji, Rageshri and Bageshri – John Campana

Tirobhav and Avirbhav in Raag Malgunji

  1. The chalan of this Raag is Rn.- SRG-m, RGmgR-S, GmD-PDn-D nD, P DP, m Pm, G mG RG- m, ,mgRS.
  2. Uttarang: n.SGmDNS’, S’R’-S’ nD -, PDn D nD P DP m Pm G mG RGm,mgRS |Rn.SRG-m.
  3. Whenever mDnD and mgRS are sung there, is avirbhav of Bageshree but as soon as svaras D nD P DP m PM G mG RGm are used there is tirobhav of Bageshree.
  4. With mGRS there is again avirbhav of Bageshri, and Rn. S RGG- m brings tirobhav of Bageshri.
  5. With n.SGmDnS’ there is avirbhav of Rageshri but as soon we use n S’n D nD P DP m Pm G mG RG- m , there is tirobhav of Rageshree and Malgunji is established.

More about Malgunji: Is Raag Malgunji = Rageshree + Bageshree?

Classical Renditions:

  1. aare man samajh [+ tarana].
  2. bana mein charavata gaiyya [+ tarana], Yeshwantbuwa Joshi version.
  3. Violin: Allauddin Khan
  4. Noor Jahan & Farida Khanum – Sajan Laagi Tori Lagan Man Ma

Songs From Films – Based On or Inspired by Raag Malgunji

  1. Baalamavaa Bolo Na Bolo – Lata Mangeshkar, Picnic Dance Song
  2. Baaje re kahin Bansuriya – Kishore Kumar (Unreleased song)
  3. Ghar Aaja Ghir Aaye Badra – Mehmood & Ameeta – Chhote Nawab. lyrics by Shailendra
    • Interesting! this song has more khamaj than Bageshri.
    • Chhote Nawab directed by Mehmood in 1961 is the one that RD Burman made his debut with this brilliant composition.
    • This is also the film where for the first time Kishore Kumar, the singer, and he worked together.
  4. Jivan Se Bhari Teri Ankhen
    • There is an inherent tinge of sadness in Raga Malgunji that comes through beautifully in this song from the film Safar (1970) composed by Kalyanji Anandji.
    • If you really want to feel the impact of the compositions in Raga Malgunji, then listen to it between 10 pm and midnight to resonate with the pathos of longing that this Raag brings out so beautifully.
    • The aaroh of malgunji is Sa Ga ma Dha Ni Sa vs aaroh of bageshri Sa ga ma Dha ni Sa and same notes in avroh.
    • In this song there is no shuddh Ni and near equal use of both Ga in aaroh, and antra is more like bageshri.
    • So this, although mixed, has more flavour of bageshri.
    • Also in the antra of this song there is only komal ga in aaroah and no shuddh Ga in aaroah, which is an integral part of malgunji.
    • There is no shuddh Ni in this song at all, that is an integral part of aaroah of malgunji. this composition is a mixture of Raag Bageshri and Ragesri, and two components of each raag are very clearly depicted.
  5. Naa Jiya Laage Na Film Anand (1970)
    • Salil Chowdhury wrote many of the songs that are now an inherent part of the cultural identity of Bengal. His music was a blend of the western classical (he grew up on Bach, Beethoven, and Mozart, and a bit of Chopin), folk ditties, and a smattering of the Indian classical.
    • Hear Tamil version here: Naan Ennum Pozhuthu Malgunji in a Tamil Film Azhiyaatha kolangal, Singer S.P.Balasubramaniam, Lyrics Gangai Amaran, Music Salil Choudhary.
  6. Nain So Nain Nahi Milao Lata Mangeshkar Hemant Kumar in Jhanak Jhanak Payal Baaje
  7. Tere pyar ko iss tarah se bhulana – Maine jeena seekh liya – Mukesh
  8. Tu Jo Mere Sur Mein Sur Milaye from Movie chitchor
    • Mystery of this song has gone from Raag Pilu to Bageshri and now to Des ang of Raag Gara. हालाँकि यहाँ पे Gg के स्थाई में प्रयोग से थोड़ा गारा का एहसास होता है लेकिन अन्तरा बिलकुल अलग है और बागेश्री के निकट है; तहकीकात के लिए!
    • It starts with “Sa Ni Dha Ni Sa ga MA … (Tu jo mere sur me..”) And Ma Pa Dha Ma Ga.. (Sur Mila Le).. Very distinctively connotes Baageshree… And in antara.. Chandni raato me..
    • It brings a flavour of G apa dha ni dha..of kalavati..  use of both shudh ghandhars and their chalan in the sargam Dng, RgR, SRGmGmgR, RmRnDp,RmdPmPGR, Dng, RG, Gm reminds me of Raag Gara, but my first choice will be raag Malgunji.. 
    • Aroah and avroah here are n S G m D n S* n D (P) m g R S.
  9. Unko Ye Shikayat Hai Ke Ham – Fim  Adalat (1958) Singer Lata, Music Madan Mohan
    • Poignant lyrics of Rajendra Krishan.
    • Just as RD Burman brought out the best in Asha Bhosle as a singer, Madan Mohan’s music and Lata’s voice is a heady concoction.

More Raag-based Songs here:
Raagmalas in Film Music
Raag-based Film Songs

🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰
More on Indian Classical Music:

The Alchemy of Indian Classical Music

Leave a comment