Malkauns
Indian classical raga
title: "Malkauns" type: doc version: 1 created: 2026-02-28 author: "Wikipedia contributors" status: active scope: public tags: ["hindustani-ragas"] description: "Indian classical raga" topic_path: "society/religion" source: "https://en.wikipedia.org/wiki/Malkauns" license: "CC BY-SA 4.0" wikipedia_page_id: 0 wikipedia_revision_id: 0
::summary Indian classical raga ::
::data[format=table title="Infobox raga"]
| Field | Value |
|---|---|
| name | Malkauns |
| image_name | Malkosa Raga.jpg |
| thaat | Bhairavi (or Asavari) |
| type | Audava |
| time | Late night, 12–3 |
| arohana | |
| avarohana | |
| synonym | |
| equivalent | Hindolam |
| related | Chandrakauns |
| Prakrati | Gambhir |
| :: |
| name = Malkauns | image_name = Malkosa Raga.jpg | image_alt = | thaat = Bhairavi (or Asavari) | type = Audava | time = Late night, 12–3 | season = | arohana = | avarohana = | vadi = | samavadi = | pakad = | chalan = | synonym = | equivalent = Hindolam | related = Chandrakauns | Prakrati=Gambhir}} Malkauns, known also as rag Malkosh, is a raga in Indian classical music. It is one of the oldest ragas of Indian classical music. 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.{{cite news | title = Indian classical music: Different kinds of ragas | newspaper = The Times of India | date = 29 September 2016 | url = https://timesofindia.indiatimes.com/indian-classical-music-different-kinds-of-ragas/articleshow/54540966.cms?from=mdr | access-date = 10 May 2021
Non-film/album songs
::data[format=table]
| Song | Language | Album | Year | Composer | Lyricist | Singer | Audio Label |
|---|---|---|---|---|---|---|---|
| Vel Vel | Tamil | Nithya Bhajanavali Vol-1 | 1997 | Perumbavoor H. Ramanathan | Shri Hari Bhajan Sangam | Shri Hari Bhajan Sangam | Giri Trading Agency |
| date=August 2025 | bot=InternetArchiveBot | fix-attempted=yes }} | Tamil | Lord Muruga T M Sounder Revival | 1999 | M. S. Viswanathan | Vaali |
| Narudu Gurudani | Telugu | Namo Venkatesaya | 2019 | Mahesh Mahadev | Kaiwara Sri Yogi Nareyana | S. P. Balasubhramanyam, Priyadarshini, | PM Audios |
| date=August 2025 | bot=InternetArchiveBot | fix-attempted=yes }} | Sanskrit | Jagannath Bhakti Rath Yatra | 2023 | Siba Prasad Rath | Dr. Ruru Kumar |
| :: |
Etymology
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.{{Cite book | author = Bagchee, Sandeep | title = Nād: Understanding Rāga Music | year = 1998 | publisher = BPI (India) PVT Ltd | isbn = 81-86982-07-8 | pages = 300
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. ::quote
::
| quote = His mace running with blood, garlanded with skulls of heroes, Malkaush surrounded by braves and bravest of the brave! | source =Shiv ttva ratnakara, 6, 8, 67{{cite book | title = The Rāgas of northern Indian music | last = Daniélou | first = Alain | publisher = Barrie and Rockliff, London | year = 1968 | isbn = 0-214-15689-3 | pages = 324 | width =24% | align =right
Arohana and avarohana
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).{{cite book | title = The Musical Quarterly | issue = vb. 71 | year = 1985 | url = https://books.google.com/books?id=xJ9RAQAAIAAJ | access-date = 26 May 2021 | page = 160 | quote = 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 ... | last1 = Sonneck | first1 = Oscar George
Arohana :
The 'Ga' used is actually Ga-Sadharan (the rough minor third), 316-cent above Sa. This corresponds to the note ga2, in the 22 shrutis list, with a factor of 6/5.
Vadi and Samavadi
The vadi swara is Madhyam (Ma) while the samavadi swara is Shadaj (Sa).
Pakad or chalan
Pakad :
Other characteristics
::figure[src="https://upload.wikimedia.org/wikipedia/commons/d/de/Brooklyn_Museum_-_Malkos_Raga.jpg" caption="Ragamala]] series painting based on Malkauns Raga, c. 1735"] ::
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
The unique musical structure of Malkauns has given rise to many variations, creating what may be called a 'Kauns' family of related ragas.
- Chandrakauns
- Suryakauns
- Bageshri-Ang Chandrakauns
- Nandkauns
- Sampoorna Malkauns
- Pancham Malkauns
- Gunkauns
- Madhukauns
- Jogkauns
- Nirmalkauns
- Tulsikauns
- Harikauns
- Mohankauns
- Charukauns
- Rageshrikauns
Film songs
'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
Note that the following songs are composed in Hindolam, the equivalent of raga Malkauns in Carnatic music. ::data[format=table]
Compositions of Hindustani classical music
::data[format=table title=""]
| S.No | Bandish type | Bandish initial bol | Composer/author | Taal |
|---|---|---|---|---|
| 1 | Dhrupad | Aadi Brahma Aadi Naad | Acharya Pt Gokulotsavji Maharaj | ChouTaal |
| :: |
Important recordings
- Amir Khan, Ragas Hansadhwani and Malkauns, His Master's Voice 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"
References
Literature
- {{Citation | last = Gosvami | first = O. | title = The Story of Indian Music | publisher = Asia Publishing House | place = Bombay | year = 1957
References
- 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.
- "Namo Venkatesaya – Single by Mahesh Mahadev, Priyadarshini & S. P. Balasubrahmanyam".
- 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". Rādhā Pablikeśansa.
- "Raag malkauns ali Mubarak khan".
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