Raag Malkaunsमालकौंस
Sourced · not yet reviewed by a musician
Bhairavi thaat · Audav-Audav · Midnight
- Night
- Midnight
- Late night
Swaras and phrases
Outlined: 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 · 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
Tap a lit note to hear it · Synthesized for study — not a recording
- 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
- All 5 sources agree
- 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
- All 5 sources agree
- 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
- 3 versions in 3 sources
About Malkauns
Malkauns is serious and solemn and can move straight up and down. Slow glides, oscillation on 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, and weight on Sa and Ma shape it.
Also called Malkosh, Malav kaushik.
Source: AUTRIM
- AUTRIM, Malkauns page, opening description
Curriculum: Pracheen Kala Kendra's vocal syllabus prescribes it at Bhushan Final.
Source: PKK
- PKK, printed p.7, list of prescribed raags
How it moves
AUTRIM says a direct ascent is permitted.
Source: AUTRIM
- AUTRIM, Malkauns page, opening description
AUTRIM says a direct descent is permitted.
Source: AUTRIM
- AUTRIM, Malkauns page, opening description
Learner focus
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.
Source: AUTRIM
- AUTRIM, Malkauns page, opening description
Caution
Chandrakauns uses shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni instead of 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 Ni. The similar name does not mean the same treatment.
Source: AUTRIM
- AUTRIM, Malkauns page, description
Study prompts
Short exercises that restate what the cited sources say.
- Sing Sa ga Ma dha ni Sa' and back down. There is no Re or Pa.
- Sing ga Ma dha, glide down to ga, then sing Ma ga and glide down to Sa.
- Chandrakauns uses shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni instead of 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 Ni. Sing Malkauns's 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 Ni and hear the difference.
Based on: AUTRIM +11
- 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
- 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
- AUTRIM, Malkauns page, tone material
- AUTRIM, Malkauns page, characteristic phrases
- AUTRIM, Malkauns page, description
Variants
- Sampurna Malkauns additionally uses shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re and Pa.
Source: AUTRIM
- AUTRIM, Malkauns page, description
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 4 sources agree
- JatiAll 5 sources agree
- Time4 of 5 sources agree
- ArohaAll 5 sources agree
- AvarohaAll 5 sources agree
- Pakad3 versions in 3 sources
- VadiAll 4 sources agree
- SamvadiAll 4 sources agree
Similar raags named by the sources
- Chandrakauns: Same notes except shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni; its prominence changes the 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 identity.
Source: AUTRIM
- AUTRIM, Malkauns page, description
Film songs
Film songs where a checked source names Malkauns. Each song shows whether a musician has reviewed it yet.
Archive recordings
Read the imported recording notes and view artwork in Ragapedia. Programme labels come from Raga Records and await independent musical review. Recovered audio is available in the listening collection. Complete CD audio remains pending.
RAGA-221 · 2 CDs
Senior Dagar Brothers — Calcutta, June 1955
Nasir Moinuddin Dagar (vocal);Nasir Aminuddin Dagar (vocal);Purushottam Das (pakhawaj)
Malkosh
Alap and dhrupad; taal not specified on the inspected page
Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
Krishna the prankster
AUTRIM presents Ashwini Bhide singing a chhota khayal in Malkauns about Krishna's pranks. Its lyric notes describe maidens who like him but resist his bold advances.
Documented · Source: Ashwini Bhide performance: chhota khayal and lyric explanation
Sources for this profile
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, jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary, time, 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, 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, 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 and 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 show the version the most independent publishers print; the sources page lists every version and who prints it. Other facts follow the source cited beside them. No musician has reviewed this profile yet.
- Malkauns: raag profileMusic in Motion: AUTRIM (NCPA and University of Amsterdam) · cited as AUTRIMRaag profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
- Raag MalkaunsArtium Academy · cited as Artium AcademyA private music academy's raag page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
- Raag Malkauns | AGK SangeetAGK Sangeet · cited as AGK SangeetPublic raag page; robots permits /raag/ (B-ROBOTS-AGKSANGEET.txt). No terms link was present in the page navigation/footer or sitemap. Copyright remains with the publisher; short factual field transcriptions and cited normalization only. Full fetched HTML/text is private audit evidence and must not ship. Accessed 17 October 2026.
- Raga Malkauns: The Midnight Raga — Scale & SongsShankar Mahadevan Academy · cited as Shankar Mahadevan AcademyRobots allows public raga pages (B-ROBOTS-SHANKAR.txt). Terms reviewed in B-TERMS-SHANKAR.txt: copying/downloading is limited to personal non-commercial use, no open license. This is a local study audit with short factual transcriptions and citations; do not publish the fetched page text, exercises, or course materials. No login/course content accessed. Accessed 17 October 2026.
- Raga Malkauns - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by RagakoshRagakosh · cited as RagakoshRobots checked (B-ROBOTS-RAGAKOSH.txt): explanatory content-signal comments only, no disallow rule or AI-input prohibition printed. No terms link found in public navigation/help, and /terms returned 404 (B-TERMS-RAGAKOSH.txt). Only visibly public factual text is used. Playback requires Pro and was not accessed; no login or account was used. HTML/text is private audit evidence; no open license claimed. Accessed 17 October 2026.
- Hindustani Music (242), Theory Book 1, Chapter 2: Elements of RagaNational Institute of Open Schooling · cited as NIOSDefines the jati terms used to label note counts. Accessed 7 October 2026. Located by printed page; paraphrased.
- Vocal Music syllabus: Prarambhik to BhushanPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.