| Swar | Gandhar and Dhaivat Varjya. Nishad Komal. Rest all Shuddha Swaras. |
| Jati | Audhav - Audhav |
| Thaat | Kafi |
| Vadi - Samvadi | Madhyam - Shadj |
| Time | Anytime in Rainy Season |
| Vishranti Sthan | S; m; P; - P; m; R; |
| Mukhya Ang | ,n S R P m R ; m P m R ; m P ; P m n P m R ; R R P m R R S ,n S; |
| Aaroh - Avroh | S (m)R m P ,n S'; - S' n P m R S; R ,n S; |
Raag Megh Malhar is a pleasingly sweet melody which resembles Raag Madhumad Sarang in its basic framework. In Raag Madhumad Sarang, Sarang Ang is prominent for example: S R m R ; m P n P m R here Rishabh is a Vadi Swar and is rendered straight from Madhyam without any Meend, just like in Raag Brindavani Sarang. Whereas in Raag Megh Malhar, Rishabh is always rendered by touching Madhyam as a Kan-Swar. Vadi Swar of Raag Megh Malhar is Shadj (Sa). Similarly, in Raag Madhumad-Sarang, n P is rendered straight, whereas in Raag Megh Malhar, n P is rendered in Malhar Ang as (P)n P.
This Raag can be mastered only after learning it from Guru mukh. Being a very old Raag, Megh Malhar is rendered with the influence of Dhruvpad Ang which uses a lot of Gamak and Meend. This Raag can be freely elaborated in all the three octaves and creates a rather deep atmosphere. The Rishabh-Pancham Sangati with stress on Malhar form as given below will clearly bring out the Raag form:
S ,n ; ,n ,n ,P ; ,P ,n S ; ,P ,n ,P S ; ,P ,n S (m)R ; ,n S (m)R ; (m)R (m)R P ; (m)R m m (m)R ; (m)R S ; ,n P ,n S ; ,n S (m)R m P n P ; m P S’ ; P n S’ ; P n P S’ ; P n S’ R’ ; R’ R’ S’ ; S’ R’ S’ S’ R’ S’; n P ; m P n P (m)R S ; ,n S ; (m)R P m R ; R m P n n P ; n n P m R ; R P m n P ; n S’ ; n P m R ; ,n R S ;
Raag Megh Malhar Bandishen
All the following bandishen are written and composed by Acharya Vishwanath Rao Ringe ‘Tanarang’ and are published in his book ‘Acharya Tanarang Ki Bandishen Vol 2‘. This book contains the notation and audio of 405 Bandishen from 31 Raags. All these bandishen are sung by Shri Prakash Vishwanath Ringe. For more information and to buy this book, please contact us.
1 | Bada Khyal - At Ghor Ghor Garjat Aaye Taal - Ektal Vilambit Theme - Rainy Season, Virah Ras | |
2 | Sadra - Rut Aai Sawan Ki Barse Taal - Jhaptal Vilambit Theme - Rainy Season | |
3 | Madhya Lay Khyal - Chamke Ghata Beech Taal - Jhaptal Madhya Lay Theme - Rainy Season, Virah Ras | |
4 | Chota Khyal - Boondan Barsai Re (With Both Nishads) Taal - Trital Drut Theme - Rainy Season, Virah Ras | |
5 | Chota Khyal - Boondan Barsai Re Taal - Trital Drut Theme - Rainy Season, Virah Ras | |
6 | Chota Khyal - Jhimak Jhimak Badarwa Barse Taal - Trital Drut Theme - Rainy Season, Virah Ras | |
7 | Chota Khyal - Meharwa Barse Ri Taal - Ektal Drut Theme - Rainy Season | |
8 | Chota Khyal - Sawan Ke Badara Aaye Taal - Trital Drut Theme - Rainy Season, Virah Ras | |
9 | Chota Khyal - Barsat Ghor Ghor Badara Taal - Trital Drut Theme - Rainy Season, Virah Ras | |
10 | Chota Khyal - Boondariya Barse Re Taal - Trital Drut Theme - Rainy Season, Virah Ras | |
11 | Sargam - Re Ni Sa Re Pa Ma Taal - Trital Drut |
Raag Megh Malhar By Shri Prakash V. Ringe
Bada Khyal – At Ghor Ghor Garjat Aaye, Taal – Ektal Vilambit
Chota Khyal – Sawan Ke Badara Aaye, Taal – Trital