ग स्वर कोमल सप सम्वाद, उतरत धैवत वर्ज्य
दोउ निषाद रुप साजत, मियां मल्हार का अर्ज
Description of Raag Miyan Malhar :
The origin of Miyan Malhar is believed to be from the Thaat Kafi. In its Aaroh, seven Swaras are sung, yet Dhaivat is prohibited in Avaroh. Therefore, its genre is a complete Shadav. In this Raag, Gandhar is Komal and both the Nishad are sung. This Raag is sung at mid night. Here, Sa is Vaadi and Pa is Samvaadi. However, some singers use Ma as Vaadi and Sa as Samvaadi.
Aaroh-Avroh, Pakad, Vadi-Samvadi, Gayan Samay of Raag Miyan Malhar:
Aaroh: सा म रे S प म ग S ग म रे सा, म रे प, नि S ध नि S सां
Avaroh: सां नि प म प, ग म रे सा
Pakad: म रे प, म ग S ग म रे सा, नि नि S ध नि S सा
Special features of Raag Miyan Malhar:
1. It is believed that Taansen has designed a new Raag named Malhar, which later became famous as Miyan Ki Malhar or Miyan Malhar. Old music scriptures do not mention this Raag.
2. Though various types of Malhar are being sung, viz. Soor Malhar, Gaud Malhar, Nat Malhar, Ramdasi Malhar etc., yet only Miyan Malhar becomes obvious when one mentions Raag Malhar. As per Late Krishnarao Pandit and Vinayakrao Patwardhan, only Miyan Malhar should be considered as Raag Malhar.
Some music scholars refute this opinion. They don’t consider only Malhar as a Raag. As per their view, only Miyan Malhar shouldn’t be considered as Malhar, when many other types of Malhar are famous.
3. In the description of this Raag, only it has been mentioned that Komal Gandhaar is sung in this Raag. Yet, this would be an incomplete statement. Its Komal Gandhar is just like Komal Ga in Darbari Kanhada. Yet, Gandhar in both these Raag are different from each other. In Miyan Malhar, Gandhar is sung touching Madhyam and Gandhar is sung touching Rishabh in Darbari.
4. Singing both Nishad in close proximity is one of the salient features of Miyan Malhar, e.g. म प नि S ध नि S सां. This type of singing is very pleasing. Sometimes, both Nishad are sung together.
5. Though genre of Miyan Malhar is believed as an entire Aaroh, yet Gandhar is sung like a bend. As a fact, it can’t be stated that whether Gandhar is sung or not sung in Aaroh. While describing Aaroh, Bhatkhande Ji didn’t mention Gandhar in Aaroh, yet mentioned Aaroh as a complete. In fact, Gandhar is sung like a bend. In fact, in Aaroh, सा रे ग म प are never sung. Sometimes, in Avaroh, Dha is sung like a bend, e.g. सां, ध नि म प
6. In rainy days, this Raag can be sung or played at any time. Therefore, this is also called as a seasonal Raag. Most of the songs in Miyan Malhar mentions rainy days.
- Pandit Ronu Majumdar perform Raag Miyan Malhar
Music scholars have some disagreements about Vaadi – Samvaadi in Miyan Malhar. Considering Sa-Pa as Vaadi-Samvaadi instead of Ma-Sa looks reasonable, because there is no Nyas on Ma in this Raag. It is essential to have Nyas on Vaadi swar. Sa-Pa is very important in this Raag. As this Raag has much importance in its first half (Poorvang Pradhan), Vaadi swar should be sung with Sa, Re, Ga, Ma, Pa.
Nyas Swar: सा, रे, प and नि
Nikatastha Raag: Bahaar
Miyan Malhar: सा, म रे प, म ग म ग म रे सा नि s ध नि s सा
Bahaar: सा म, म प ग म, नि ध नि सां
- म प नि ss ध नि s सां
- सा म रे प
- नि ss ध नि ss सां, ध नि म प
- धनिसां s नि प, म ग s ग म s रे सा, नि ssध नि sसा
Sa – Regular
Re – Prominence in both the types
Ga – Langhan is modest in Aaroh, yet has prominence at some certain places and Alanghan prominence in Avaroh.
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