Ustad Sarahang Raga Malkauns

[mobarezism]

کیرم ده کوس کون ..کوسمادران که لقب استادی ره ده ای کوس فروش داده...ای کونی هندی بت پرست است

[TaalPanchamSawari]

Dear friends. Ustad ji started with a bandish in Vilambit Ektaal and changed to this part in Drut Teentaal. I have heard many many Recordings in Malkauns, but this one on the concert is just AMAZING! I try to make the whole recording in Digital to upload it for you!

[jaganperfect]

Although, there is a method for singing other Raagas in Pentatonic scales such as Bhoopali, Durgaa, Hamsaddhwani, Malkauns and Dhaani -- the Moorchhana Paddhati is not always considered "Harmonic" to human ears. This is because of the 22 Shruthis scheme as portrayed in the Classical format for each Octave. This arrange has 4:3:2:4;4:3:2 for Sa:Re:G:Ma:Pa:Dha:Ni, So, while performing Moorchhana many times the Shruthis sung in the second scale may not match the original Raga being attempted.

[panchamkauns]

This singer fascinates me. Afghanistan has been lucky to have him!

[kaseemjan]

eqa RE wa GA nago dewana jan to az ustad bozorg behtar namefamee

[riprottencrop]

THis is no where raag malkauns :((( i dont know which is this raag becoz re and pa are not there in malkauns.

[patbusy1]

Hey buddy!!! In your Malkauns if you take komal dhaivat as your shadaj then you are singing Bhupali.....which is Sa Re Ga Pa Dha Sa....So it would still sound as Malkauns in your present scale...But in the scale with Komal Dhaivat as your Shadaj you will be singing Bhupali.....So Sa re ga pa dha sa is also malkauns provided your Dhaivat is Shadaj...Please note that his Sa in Sa re ga pa dha sa is the dhaivat in his scale...

[riprottencrop]

Thanks dude i was unaware of this. The hindustani music is like a sea and very open i was being very constrained now i got it thans you very much :))

[patbusy1]

No problem buddy...my pleasure!!

[afghanforlife]

It is Malkauns. At one point he demonstrates what is called a 'murchana", that is when the Sa gets transposed to another note, thus bring make the scale of another raga.

If one makes the Dha of Malkauns into Sa, the Ni becomes Re, the Sa becomes Ga, the Ga becomes Pa, the Ma becomes Dha (tivar), and you have the scale of Bhupali.

Similarly, if you move the Sa of Malkauns to its Ma, you get the scale of Râg Dhâni - Sa Ga (komal) Ma Pa Ni (komal).

[afghanforlife]

Move the Sa to the Ni and you get Megh/Madhmad Sarang scale.

Move the Sa to Ga and you get Durga of Bilawal tHât.

[RangiKhan]

this is malkauns, ustad is using differant notes as keynote, this thing has been first introduced by ustad bade ghulam ali khan ( as far i know)

[kirmour]

@riprottencrop he used re and pa only when showing how changing the shadja can make it into bupali..

[afgprience]

thats the raag  malkauns of ustad bade ghulam ali khan

[GoldenMusic92]

excellent

[ob420]

great wonderfulll..thanxx fo dharin man

[mjmbrumi]

Interesting interpretation of Malakauns. I prefer Ustad Amir Khan Malakauns.

[green0fairy0boy]

I don't know much about indian classical music, but i know that music should speak to all people. For some reason ustad sarahang's voice speaks to the soul rather then any aquired taste for me.

[Aflotoxin]

Ustad M.H. Sarahang's voice: Subhan Allah. Can someone please provide a Pashto-English translation? Thank you.

[penta15786]

These bols are not in Pashto.

[zrahin]

I got this three minute from a friend. If you have the full vilambit version, please post it. It's one of the best Malkauns renditions by Ustad.

[zrahin]

Correction, I have run this by Pandit Sanjeev Abhyankar, and he indicated that "Jasrangi" is a concept within the concept of Moorchana which exited for hundred years.

[fannafiallah]

@zrahin Yes, we also use this technique often in Drupad, Khayal & Qawwali. This is called mochana.

[zrahin]

"So he (Pt. Jasrag) thought what could be done if they have to sing together without losing their tonal qualities. He came to a conclusion that within the concept of Moorchana, if a female sings a raga having madhyam in it, and if any other raga is formed with Madhyam as a Sa (Chandrakauns-Madhukauns, Abhogi-Kalawati etc) then the male can sing that raga in his own voice without losing his tonal quality"

[zrahin]

"This singing will sound harmonious and the Sa-Ga, Sa-Ma, Sa-Pa,Ga-Dha etc when come together create a great mood.

He experimented with us to sing different moorchanas in different notes and discovered that only those ragas which are formed by taking Ma of a particular raga as Sa, sound harmonious when sung together by a male and a female vocalist. He calls this conclusion as a "Jasrangi Jugalbandi" This no one had presented before."