Raag Malkauns
Complete Guide, Notes, Aaroh, Avaroh & Practice Instructions
Introduction
Raag Malkauns is one of the most powerful and meditative ragas in Hindustani Classical Music. It belongs to the Bhairavi Thaat and is traditionally performed during the late-night hours.
Malkauns has a distinctive five-note structure and uses Komal Ga (g), Komal Dha (d), and Komal Ni (n), while Re and Pa are omitted. This creates a deep, serious, and contemplative sound.
For bansuri players, Malkauns is an excellent intermediate raga for developing breath control, sustained notes, meend, pitch accuracy, and expressive playing. Although it uses only five swaras, its melodic character is much more sophisticated than a simple pentatonic scale.
The beauty of Malkauns comes from slow development, careful note treatment, and the space between phrases rather than from fast note patterns.
Basic Information
Swaras Used
Raag Malkauns uses five swaras.
Included Swaras
- • Sa (S) — Shadja
- • Komal Ga (g) — Flat Gandhar
- • Ma (M) — Shuddha Madhyam (Vadi)
- • Komal Dha (d) — Flat Dhaivat
- • Komal Ni (n) — Flat Nishad
Omitted Notes (Varjit Swaras)
- • Re (R) — Rishabh (Omitted in both Aaroh & Avaroh)
- • Pa (P) — Pancham (Omitted in both Aaroh & Avaroh)
The three Komal swaras (g, d, n) are an essential part of the raga's deep character.
Aaroh & Avaroh
S g M d n S'
S' n d M g S
Pakad & Characteristic Chalan
Key Pakad Phrases
A useful introductory catchphrase:
S g M
d M
g S
Another characteristic movement:
g M d
n d M
g S
Practice these phrases slowly and allow each important note to settle before moving to the next.
Chalan (Melodic Movement)
S g M
M d n
S'
S' n d
M g
S
Continue with:
g M d
n d M
g M g
S
Another useful movement:
S g M d
M d n S'
n d M
g S
The phrases should be played with a calm and spacious approach.
Important Characteristics
- •Malkauns is an Audav–Audav raga.
- •Only five swaras are used.
- •Re and Pa are omitted completely.
- •Ga, Dha, and Ni are Komal (flat).
- •Ma is traditionally considered the Vadi.
- •Sa is the Samvadi.
- •Slow development is particularly effective.
- •Meend and gentle oscillation can enhance the raga.
- •The raga has a deep, serious, and meditative character. Simply playing the five-note scale does not establish the full character of Malkauns.
Mood & Emotion
Raag Malkauns is known for its profound and introspective atmosphere. It can evoke:
Its late-night association and restrained melodic movement make it particularly suitable for slow and contemplative flute playing.
Why Learn Raag Malkauns?
Malkauns is an important step for an intermediate flute player because it develops skills that are difficult to gain from straightforward scale-based ragas.
- • Control over multiple Komal swaras
- • Accurate pitch placement
- • Breath stability & long-note control
- • Smooth meend & slow improvisation
- • Expressive phrasing & awareness of space/silence
Practice Routine
1. Long Notes (Kharaj & Swara Sadhana)
Begin with slow, sustained notes: S — g — M — d — n — S'
Hold each note for 8–10 seconds. Pay particular attention to the pitch of the three Komal swaras.
2. Komal Swara Practice
Practice each important Komal swara separately:
S — g | S — d | S — n
Then connect them:
S g M | M d | d n | n S'
Keep the airflow steady and avoid rushing.
3. Aaroh–Avaroh Practice
S g M d n S' | S' n d M g S
Repeat slowly 10–15 times. After the notes become comfortable, practice the same movement with gentle meend.
FluteSangam Original Alankars for Raag Malkauns
Ascending: S g | g M | M d | d n | n S'
Descending: S' n | n d | d M | M g | g S
Ascending: S g M | g M d | M d n | d n S'
Descending: S' n d | n d M | d M g | M g S
Ascending: S g M g | g M d M | M d n d | d n S' n
Descending: S' n d n | n d M d | d M g M | M g S
Practice this very slowly and keep every Komal swara controlled.
Common Mistakes to Avoid
- ❌ Accidentally playing Re or Pa.
- ❌ Playing the Komal swaras too high or too low.
- ❌ Treating Malkauns as simply a five-note scale.
- ❌ Playing too fast.
- ❌ Using excessive ornamentation.
- ❌ Moving continuously without allowing important notes to breathe.
- ❌ Losing the serious and meditative character of the raga.
Tips for Better Performance
- • Practice with a tanpura drone tuned to Sa-Ma.
- • Spend extra time on Komal Ga, Dha, and Ni.
- • Practice long notes before attempting fast phrases.
- • Use gentle meend between suitable swaras.
- • Give Ma (Vadi) sufficient prominence.
- • Leave small spaces between phrases during slow Aalap.
- • Avoid unnecessary fast passages.
- • Concentrate on tone quality and pitch stability.
- • Let the raga develop gradually.
Nisha Dhyan
This learning piece has been created specifically for FluteSangam to help students explore the five-note structure and characteristic movements of Raag Malkauns. It is an original educational exercise, not a traditional bandish or classical composition.
Aalap (Free Rhythm)
Aalap (Play freely without taal) S g M M d d n S' Return gradually: S' n d M g g S Continue: S g M d M g S g M d n d M g S
Mukhda, Antara & Vistar
Mukhda | S g M d | n S' n d | | M g S - | S g M - | Antara | M d n S' | n d M g | | S g M d | M g S - | Vistar Practice | S g M d | n d M g | | S g M d | n S' n d | | M g S g | M d M g | | S g M d | M g S - | Concluding Phrase (Repeat 3 times) g M d | M g | S
How to Practice the Learning Piece
- Begin with long-note practice.
- Practice the three Komal swaras individually.
- Practice Aaroh and Avaroh.
- Repeat the Pakad several times.
- Practice the Aalap without rhythm.
- Learn the Mukhda slowly.
- Add the Antara after the Mukhda becomes comfortable.
- Practice the Vistar separately.
- Combine the sections gradually.
- Finish with the Concluding Phrase.
- Start around 45–50 BPM. Gradually increase toward 70 BPM while maintaining the raga's calm character. Do not sacrifice note quality for speed.
Suggested Daily Practice Schedule
| Exercise Module | Recommended Duration |
|---|---|
| Long Notes (Kharaj Sadhana) | 5 minutes |
| Komal Swara Practice | 5 minutes |
| Aaroh–Avaroh | 5 minutes |
| Pakad Phrases | 5 minutes |
| FluteSangam Original Alankars | 10 minutes |
| Aalap Exploration | 5 minutes |
| Original Learning Piece ("Nisha Dhyan") | 10 minutes |
| Total Daily Practice Time | 45 minutes |
Frequently Asked Questions
Related Ragas
© FluteSangam Original Content
This article, including the explanations, practice routines, alankars, and "Nisha Dhyan" learning piece, has been created specifically for FluteSangam as original educational content.
The learning piece is an original practice exercise created to help students explore the swaras and characteristic movements discussed on this page. It is not presented as a traditional bandish, gat, or composition from any particular gharana or composer.
About the Author
Written and practice-tested by Aplut, a self-taught bansuri learner practising since 2022. Content is built on direct practice experience and careful research into classical traditions. Because musical lineages and fingering conventions vary, suggestions and corrections are always welcomed via our contact page or at [email protected]. First-hand instrument experience is identified clearly whenever gear is reviewed.