Marwa vs Malkauns
A study guide for two raags that a cited source names as similar. Every field is cited; no musician has reviewed this comparison yet.
Side by side on the twelve swaras
Lit notes are each raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary's core swaraSwaraA musical note in Indian music. The seven names are Sa, Re, Ga, Ma, Pa, Dha and Ni; some have shuddha, komal or tivra forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary set. An arohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary, avarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary or pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary can add notes or touches outside it; play them to hear where the two raagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary part.
Raag Marwa
Tap a lit note to hear it · Synthesized for study — not a recording
Raag Malkauns
Tap a lit note to hear it · Synthesized for study — not a recording
Marwa
Marwa thaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, late afternoon to sunset (fourth praharPraharA roughly three-hour division used in traditional time-of-day associations for raags. These associations are conventions, not listening prohibitions.Source: N2 §2.2.10, p. 18. and 1 moreMore in the glossary of the day, about 3–6 pm)
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa .Dha .Ni re Ga Ma(tivra) Dha Ni Sa'
Source: Artium Academy
- Artium Academy, Raag Marwa page, aroha
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' Ni Dha Ma(tivra) Ga re Sa .Ni .Dha Sa .Ni re Sa
Source: Artium Academy
- Artium Academy, Raag Marwa page, avaroha
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- Dha Ni / re Ni \ Dha; Ni / Ga re; re Ga Ma(tivra) Dha Ma(tivra) Ga re
Source: AUTRIM
- AUTRIM, Marva page, characteristic phrases
- VadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- re
Source: Artium Academy +2
- Artium Academy, Raag Marwa page, profile details
- Online Sangeet, Description / Vadi
- Riyaz, Public glossary / Vadi
- SamvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Dha
Source: Artium Academy +2
- Artium Academy, Raag Marwa page, profile details
- Online Sangeet, Description / Vadi
- Riyaz, Public glossary / Samvadi
Malkauns
Bhairavi thaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, midnight (third praharPraharA roughly three-hour division used in traditional time-of-day associations for raags. These associations are conventions, not listening prohibitions.Source: N2 §2.2.10, p. 18. and 1 moreMore in the glossary of the night, about 12–3 am)
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa ga Ma dha ni Sa'
Source: AUTRIM +4
- AUTRIM, Malkauns page, opening description
- Artium Academy, Raag Malkauns page, aroha
- AGK Sangeet, Raag Malkauns | AGK Sangeet, aroha
- Shankar Mahadevan Academy, Raga Malkauns: The Midnight Raga — Scale & Songs, aroha
- Ragakosh, Raga Malkauns - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, aroha
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' ni dha Ma ga Sa
Source: AUTRIM +4
- AUTRIM, Malkauns page, opening description
- Artium Academy, Raag Malkauns page, avaroha
- AGK Sangeet, Raag Malkauns | AGK Sangeet, avaroha
- Shankar Mahadevan Academy, Raga Malkauns: The Midnight Raga — Scale & Songs, avaroha
- Ragakosh, Raga Malkauns - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, avaroha
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- dha ni / ga \ Sa; ga \ ni Sa \ dha; ga Ma dha \ ga Ma ga \ Sa; Sa Ma ga Ma; dha / Ma / ni
Source: AUTRIM
- AUTRIM, Malkauns page, characteristic phrases
- VadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Ma
Source: Artium Academy +3
- Artium Academy, Raag Malkauns page, profile details
- AGK Sangeet, Raag Malkauns | AGK Sangeet, vadi
- Shankar Mahadevan Academy, Raga Malkauns: The Midnight Raga — Scale & Songs, vadi
- Ragakosh, Raga Malkauns - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, vadi
- SamvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Sa
Source: Artium Academy +3
- Artium Academy, Raag Malkauns page, profile details
- AGK Sangeet, Raag Malkauns | AGK Sangeet, samvadi
- Shankar Mahadevan Academy, Raga Malkauns: The Midnight Raga — Scale & Songs, samvadi
- Ragakosh, Raga Malkauns - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, samvadi
Why students confuse them
If Re is mistaken for the tonic the resulting scale can sound like Malkauns.
Source: AUTRIM
- AUTRIM, Marva page, description
Study focus
Marwa
Stress komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re, but return to Sa now and then so komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re is not heard as the tonic.
Malkauns
Use slow glides, oscillate komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga, hold komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Dha, and tune the drone to Ma.