Rajan's commentary guides us through the highways and bylanes of the
raga. Included are clips of riveting music of the great masters of
Indian music for whom words of introduction other than their names
would be superfluous.
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In the 'kaunsspeak' clip, Jha Sahab says that there is no other raag
this big in currency, and adds that even Todi and Yaman can't
compete with it. He says no artist remains untouched by Malkauns
though the same artist's Yaman may not come out sweet. But is there
general agreement about this opinion among other scholars across
the spectrum? I think the fact that some great singers don't sing
Yaman very well suggests that Malkauns has more inherent and more
easily capturable sweetness. But Yaman and Todi loom larger in
classical music. References to them in discussions and literature are
more common compared to Malkauns.
In Pune, concerts which start after 9 PM are not uncommon, but the
current trend (especially in Delhi in the late 1980s) is towards concerts
which start around 6:30 PM and end by 11 PM. Partly due to this
reason, I have heard Yaman far more often than Malkauns.
Even in light music, keeping Bhairavi, Pahadi, Khamaj aside, Yaman,
Bageshri, Des and Megh (probably even Darbari) are found far more
commonly than Malkauns. I wish I had started documenting but recently
I have been struck with just how frequently the Megh scale was used
in Hindi Film Music in the 1940s.
I tried a couple of searches.
Hits for 'malkauns or malkosh or malkans' in rmic archives : 719
Same search but with author=parrikar : 47 hits.
Hits for 'yaman' in rmic archives : 1,050
Same search but with author=parrikar : 85 hits.
Hits for todi in rmic archives : 1,320
(But many of these could be for other Todis.)
Hits for 'malkauns or malkosh or malkans' in rmim archives : 389
Hits for yaman in rmim archives : 475
I am surprised. I would have expected Malkauns to have at most 25%
hits compared to Yaman.
> In the 'kaunsspeak' clip, Jha Sahab says that there is no other raag
> this big in currency,
Jhasaab's point was that in Malkauns every swar is equally important and is
related to every other swar, and this is what distinguishes it from the
other big enchiladas of HCM. He was not making an absolute comparison of the
three raags in question in any way; that would be a wholly futile exercise.
His other insight was that Malkauns has something to offer both the novice
and the veteran. Its pentatonic scale and straightforward movement mean it
can be easily conjured up by the tyro, but it also has a profundity that can
be plumbed only by the experienced musician.
Ajay Remove Ramanujan's number to reply
PS: I have carefully avoided mentioning any competitor raag in my response,
to do my bit to bump up Malkauns' Google rating, but if you ask me, the raag
starting with 'Y' is the real test of a vocalist's ability.
Kishori claims this is "instrumental" raag - been ka raag, which may
or may not be totally true. However, ZM Dagar's Malkauns is obviously
one of the finest.
> Jhasaab's point was that in Malkauns every swar is equally important and
> related to every other swar, and this is what distinguishes it from the
> other big enchiladas of HCM. He was not making an absolute comparison of
> three raags in question in any way; that would be a wholly futile
It is true enough that Ramrang has offered two remarks about Malkauns
which distinguish it from other big raags. But he didn't stop there.
I don't mean to take his words too literally but I do think there are
other raags which offer both a truer test of a singer's ability and greater
satisfaction to the listener.
A couple of other instrumental renderings I have enjojyed - Usman Khan
on the alurkar label (Sawai gandharva fest) an older RS alap in which the
master of mandra saptak shows his stuff. ON the carnatic front MSG on AuVidis
does the sAmaJavaragamana brilliantly. Havent heard ZM. Is it commercially
: A couple of other instrumental renderings I have enjojyed - Usman Khan
: on the alurkar label (Sawai gandharva fest) an older RS alap in which the
: master of mandra saptak shows his stuff. ON the carnatic front MSG on AuVidis
: does the sAmaJavaragamana brilliantly. Havent heard ZM. Is it commercially
: available ?
the only recording of dagar-saheb i've heard playing malkauns isn't
commercially available. there are a couple of recordings of him playing
Andrew Buhr buh...@freenet.edmonton.ab.ca
Savour the Irony! http://freenet.edmonton.ab.ca/~buhrger
A Malkauns by ZM Dagar is available for download on mp3.com:
1) Chandrakauns (Malkauns ang): This is sometimes stated to be a
creation of B R Deodhar's, isn't it? Any idea about the veracity of the
2) Ditto Harikauns and Sarahung?
3) Two Kauns variants not included in your discussion are Nabhakauns and
Suryakauns. Could you discuss their chalan briefly? The former has been
recorded by Padma Talwalkar, IIRC. Are there any commercially available
recordings of the latter?
Very quickly -
#1: Yes, some years ago when I met Dinkar Kaikini he mentioned
the Deodhar connection re. the modern Chandrakauns.
#2: I am not sure about the Sarahang connection of Harikauns.
Chandrasekhar Naringrekar (senior student of ZM Dagar the beeNkAr
and for a while on the faculty at Kala Academy in Panjim, Goa)
has also recorded Harikauns on Surbahar. I have heard it long ago and
cannot remember now if it is the same type as wielded by Amir Khan.
IIRC, Subbarao also mentions Harikauns (which makes the case for Sarahang
#3: Nabhkauns was brought forth by (if I correctly remember) Sunil
Bose of Kolkotta. Its takes the higher shade of nishAd in Arohi
prayogas and the lower in avarohi prayogas (i.e. Chandrakauns-like
in Aroha and Malkauns-like in avaroha.
This is indeed a very good net CD. Does anyone know any other good
netCD - ICM or good Hindi or Marathi songs which can be purchased from
MP3 website? I was trying to search, but most were mail orders. Thanks