Gaud malhar

An important variety of Malhar family, this rag is very popular among musicians There are several compositions in this rag with vivid description of rains and hence mainly associated with monsoon season (Bhatkhande [KPM IV] 1976: 529].

Tone material: S R G m P D n N

Ma and Sa are the important notes. R /P is a phrase common to the rag of the Malhar family, and is also emphasised in this rag. Phrases can end either on Ma or Pa.

Flat Ni can only be used as in m P D n P or S D n P.

Some characteristic phrases:
R /P
S- RGm
mPDP m
m P D- nSn \P
m P DNS- \DPm

Some variations of this rag are in vogue. Apart from the variety described here, there is a type which includes flat Ga along with natural Ga, especially preferred in the dhrupad tradition. The phrase n \P can evoke shades of rag like Brindavani sarang (vide), Bahar (vide) etc. However, inclusion of the Dha helps maintain the distinct identity of this rag.

Like all rag of Malhar family, this rag too is associated with the rainy season. Hence, the song-texts of compositions depict vivid descriptions of this season.

Time: any time during the rainy season (ibid)

Further listening:
Narayanrao Vyas EALP 1314
Mallikarkun Mansoor
Parrikar on Gaud malhar

Performance by Manjiri Asanare 

Composition: bada khayal

गोरी मानन करिये
गोरी तोरे कारन अायो मेहा

हरी हरी भूम पर
परतो ही जाये
नयी नार नयो मेहा

Oh, the fair one, don’t be so proud as if you brought down the dark clouds. On the green earth, the rains continue to pour. Like a new bride the new clouds gather in the sky.

Tal: Tintal (slow tempo)

Performance:
4-10: Opening with a characteristic phrase R /P. Note a touch of m for the Re and the sustained Pa. The accentuated beat (sam) coincides with D- nSn \P, a typical phrase with the flat Ni
11-14: mPDP m, another characteristic phrase in this rag
23-27: S RGm, yet another characteristic phrase
33-38: R /P repeated
42-46: D- nSn \P, a typical phrase with the flat Ni recurs several times
61: The composition starts. Note the phrase R /P embedded in the refrain (mukhda) and keeps repeating throughout the performance (for instance 145-148). The refrain is very short spanning only three quarter of the last beat of the cycle, a feature typical to Jaipur gharana compositions
114.5-118 & 140-143: D- nSn \P, yet again
118.5: The second part of the composition, extends up to the high Ma (133-136)
161: Having laid out the composition, it is now elaborated using the words from the song-text (bol alap)
176-179: Lower Ni is held with touch of the Dha before approaching the lower Pa and Ma
230: The elaborations in the middle octave and upper middle octave
288: Phrase includes both Ni, reaching the high Sa
308, 349: The melody emphasises the high Sa. Note the approaching phrases including the flat and natural Ni
376: The elaborations reach up to the high Ma

Performance by Ram Deshpande

Composition: bada khayal (tap-khayal)

नजरा नहीं अान्दा वे मियॉ
देखनदा मेनू छाव घन वे

धूँन्डे री फीरदी वारी
सुनो मियॉ रा
घे नाम कहत बन तांडव  सावरे

This composition is in Hindi but has some Punjabi words as well. Melodically, the composition has some elements of tappa, a semi-classical genre that includes quick turns and fast melodic movements. Incidentally, most song text of tappa is in Punjabi.

I don’t find him anywhere. My heart desires to see him. Oh, my beloved, I wander around looking for you.

Tal: Jhumra (slow tempo)

Performance:
4-14: Opening phrase includes Ma and has sustained Ga descending to Sa through a short Re. In this performance Gaud malhar Ma is quite prominent note
19-23: Characteristic phrase – S \D n P
33-43: Movement including Re, Ga and Ma, followed by sustained Ga descending to Sa through a short Re
49-65: Sustained flat Ma, typical in this rag, followed by a sustained Ga returning to Sa in the same manner as above
67-78: Again Ma is sustained, returning from Pa, followed by M \R where Re has repeated touch of Ma
79-85: R /P, typical glide in this rag
88-97: Sustained Dha, followed by another typical movement ending on Ma- D N S nD nP, D \G P m
112-202: The first part of the composition (sthayi) is presented and repeated with variation
203-234: This is followed by the second part (antara)
238-284: Elaborations using words of the composition (bol alap). Note the phrase –
D N S D n P D \G P m and use of shake (gamak) for some phrases
285-351: Movements become faster but continue to use words of the composition and at some places the shake (gamak)