Raag Malkaunsमालकौंस

Thaat: BhairaviLate Night (Midnight–3 AM)Valour, deep gravity, mystic

Malkauns is a pentatonic midnight raag using only Sa, Ga̤, Ma, Dha̤, Ni̤. The complete absence of Re and Pa gives it a unique, haunting resonance.

Play on Harmonium:
Notes in Malkauns̤Komal (flat)
Sa
Re
Ga
Ma
Pa
Dha
Ni
SaQ
ReW
GaE
MaR
PaT
DhaY
NiU
r
g
M'
d
n
r2
g3
M'5
d6
n7

Arohana (Ascending)

SaGa̤MaDha̤Ni̤Sa'

Sa → Ga̤ → Ma → Dha̤ → Ni̤ → Sa'

Avarohana (Descending)

Sa'Ni̤Dha̤MaGa̤Sa

Sa' → Ni̤ → Dha̤ → Ma → Ga̤ → Sa

Vadi (King Note)
Ma
The most important, frequently emphasized note in Malkauns.
Samvadi (Minister Note)
Sa
The second most important note, a perfect counterpart to the Vadi.

Pakad (Characteristic Phrase)

The pakad is the short, unmistakable melodic motif that identifies Raag Malkauns. Whenever you hear or play this phrase, the raag is immediately recognizable.

g M d n S M g S

About Raag Malkauns

Malkauns (also spelled Malkosh or Malakos) is one of the most ancient and revered raags in Hindustani music. It is a pentatonic raag using only five notes — Sa, komal Ga̤, Ma, komal Dha̤, and komal Ni̤ — and the complete absence of both Re and Pa creates its signature haunting, otherworldly quality. With three of its five notes being komal, Malkauns has a density of flat tones that no other major raag matches.

The raag is associated with Lord Shiva, warrior valor (veera rasa), and deep mysticism. It is performed exclusively at midnight, in the deepest hours of the night. The absence of Pa (the perfect fifth) — considered the most harmonically stable interval — deliberately destabilizes the scale, creating a floating, trance-like atmosphere.

Malkauns's Vadi is Ma and its Samvadi is Sa. The melodic movement constantly circles around Sa and Ma as twin anchors, while the komal Ga̤ and komal Dha̤ on either side create a kind of chromatic haze. It is one of the most challenging raags to perform well because there are only five notes to work with, yet the music must feel complete.

Practice Tips for Harmonium

  • 1No Re, no Pa — only Sa Ga̤ Ma Dha̤ Ni̤. Internalize this five-note set before practicing phrases.
  • 2The absence of Re means phrases must jump from Sa directly to komal Ga̤. Practice this interval until it feels natural.
  • 3Komal Ga̤, Dha̤, and Ni̤ create a dense chromatic cluster. Practice placing each komal note with precision — they should feel "heavy" and resolved, not sharp.
  • 4Try a slow alaap in the lower octave (mandhra saptak) first — Malkauns reveals its depth in the lowest register.

Notable Compositions & Recordings

  • The famous film song "Man Tarpat Hari Darshan" from Baiju Bawra is in Malkauns
  • Many devotional compositions for Lord Shiva use Malkauns for its deep, meditative quality