Raag Malgunji | Oshurer Suralok Jatra Series

Raag Malgunji is a highly melodious, profound, and rare raag belonging to the Kafi Thaat in the North Indian or Hindustani classical music system. In musicology, it is considered a complex jod-raag (compound/mixed raag). It has been created primarily through an exquisite blending of Raag Bageshri and Raag Rageshri.

Raag Malgunji

Although the movement (chalan) of Raag Malgunji is very close to Bageshri, it distinguishes itself from the latter through the use of Shuddha Gandhar (natural Ga). In Malgunji, Shuddha Gandhar is used during the ascent (aaroh), while Komal Gandhar (flat Ga) and Komal Nishad (flat Ni) are used in the descent (avroha). The beautiful game of hide-and-seek between these two variants of Gandhar and Nishad lends Raag Malgunji its unique sweetness. It is an incredibly emotive raag that can be sung or played across all three octaves with equal fluidity.

The Grammar of the Raag: Malgunji

• Thaat: Kafi. (However, owing to the mixture of shuddha and komal notes, many musicologists consider it a part of Khamaj Thaat as well).
• Jati: Audav-Sampurna (5 notes are used in the ascent and 7 notes in the descent).
• Aaroh (Ascent): Sa Ga Ma Dha Ni Rsa
• (Rishabh and Pancham are omitted in the ascent; the prominence of Shuddha Gandhar and Shuddha Nishad is noteworthy here)
• Avroha (Descent): Rsa Ni Dha, Pa Ma, Ga Ma gna Re Sa
• (The application of Komal Nishad and Komal Gandhar in the descent brings it close to Bageshri)
• Pakad (Core Phrase): Sa Ga Ma gna Re Sa n Dha n Sa
• Vadi Swar (King note): Ma (Shuddha Madhyam).
• Samvadi Swar (Queen note): Sa (Shadaj).
• Anga: Purvanga.
• Varjit Swar (Omitted notes): Rishabh (Re) and Pancham (Pa) are omitted in the ascent.
• Swars Used: Shadaj (Sa), Shuddha Rishabh (Re), Komal Gandhar (gna), Shuddha Gandhar (Ga), Shuddha Madhyam (Ma), Pancham (Pa), Shuddha Dhaivat (Dha), Komal Nishad (ni), and Shuddha Nishad (Ni).
• Time: Midnight (from 12:00 am to 3:00 am).
• Nature: Grave, romantic, and yearning deeply for union.

Just as Bageshri evokes a feeling of separation and longing (viraha), and Rageshri brings forth the sentiment of union—Malgunji stands right between the two, portraying the initial realization of union and sweet anticipation. The profound movement of this raag instantly makes any atmosphere heavy and spiritual.

Songs Based on Raag Malgunji:

• Na, Mon Lage Na [Modern Bengali] — Salil Chowdhury.
• Gunja Mala Gole Kunje Esho He Kala (Vocals: Suprova Sarkar / Manabendra Mukherjee) — Source: Nazrul Sangeet Swaralipi Granthamala (Nazrul Institute).
• Ghar Aaja Ghir Aye (Film: Chhote Nawab, 1961, Vocals: Lata Mangeshkar, Composer: R. D. Burman).
• Ami Eto Je Tomay Bhalobeshechi [Modern Bengali]

Other Raags Related to Malgunji

1. Bageshri — There is a deep shadow of Bageshri over the descent and the core notes of Malgunji. If Shuddha Gandhar (Ga) is removed from Malgunji, it transforms directly into Raag Bageshri.
2. Rageshri — If Pancham (Pa) and Komal Gandhar (gna) are removed from Malgunji, it takes the form of Rageshri.
3. Jaijaiwanti — The movement of the two Gandhars in the descent of Malgunji (Ga Ma gna Re Sa) belongs directly to the same lineage as Raag Jaijaiwanti.