Raag Miyan Ki Malhar

Raag Miyan Malhar belongs to Kafi thaat of the North Indian Music System. It is a creation of Sangeet Samrat Miyan Tansen. This Raag has Shudh Nishad makes it too impressive and shows the beauty of this Raag. This raga has a Vakra form and is classified as a Ghambir Prakruti raga due to its serious tone. It is believed that music legends like Miyan Tansen, Baiju Bawra, Baba Ramdas, Tanta rang, Tantras Khan, Bilas Khan (son of Tansen), and Meera Bai, etc are some of those who can start rains using various kinds of Raga Malhar.

Among all these Miyan Tansen has a very special place in Emperor Akbar's Music Department. He is stated as one of from Nine Ratnas of Badshah Akbar.

This raag has some versions as a combination also - Dhulia Malhar, Gaud Malhar, Meera Ki Malhar, Megh Malhar, Nat Malhar, Ramdasi Malhar, Soor Malhar, etc.

Raag Miyan Malhar

Characteristics or Visheshta of Malhar Raag:

  • Tansen created this raag as Malhar Raag, but with time his name changed to Miyan Ki Malhar. No records were found in ancient scripts show that this is a comparatively new raag.
  • There are many variations of this Raag but scholars suggest when it is called Malhar Raag one should consider it is Raag Miyan Ki Malhar. but this is a controversial discussion as few scholars deny this theory and support the name Raag Miyan ki Malhar.
  • The use of both Komal Ni (Nishad) and Shudh Ni (Nishad) shows a very impressive effect on listeners.
  • The jati of the Raag is Sampoorna but in Aaroh (Ascending order) Ga (Gandhar) is used Vakr, and in Avroh (Descending order) Dha (Dhaivat) is used as Vakr Swar.
  • It is allowed to at any time during Rainy Season.

Comparison of Raag Miyan Ki Malhar with Raag Bahar (Click Here for Raag Bahar)


  • Both Ragas are Modern time Ragas as there are no such descriptions found in ancient scripts or records.
  • Both belong to Kafi Thaat.
  • Use of Komal Ga (Gandhar), Shudh Ni (Nishad) & Komal Ni (Nishad) in both Ragas.
  • Dha (Dhaivat) is Varjit Swara in Avroh in these Ragas.
  • Avroh belongs to Shadav jati in both Ragas.
  • Both of the Ragas are Seasonal. Bahar Raag belongs to Spring Season & Raag Miyan Ki Malhar belongs to Rainy Season.
  • Time to sing this raag is also same for both: Mid-Night (12-3 AM)
  • Use of Ga (Gandhar) is Vakr in Avroh or Descending order in these Raags.
  • Use of Ma (Madhyam) as vadi & Sa (Shadaj) as Samvadi is also a common factor.
  • Both of the Ragas use the following note-groups:
  1. GA MA  RE  SA
  2. NI DHA  NI   SA
  3. NI PA


  • The nature of Bahar Raag is playful or Chanchal pravarti, whereas Miyan Ki Malhar has a serious tone.
  • Bahar Raag is performed in Madhya Saptak (Middle Octave) or Taar Saptak (Upper Octave), whereas Miyan ki Malhar is performed in all Saptaks (Octaves).
  • Aaroh (Ascending order) of Bahar Raag belongs to Shadav jati, whereas Miyan Ki Malhar belongs to Sampoorna jati.
  • The use of Komal Ga (Gandhar) in Bahar Raag is like it has a resonating touch of Ma (Madhyam) but in Miyan Ki Malhar it is used as Komal Ga (Gandhar).
  • Use of “NI DHA  NI  SA”  note group. In Bahar Raag it is used with equal Gaps whereas in Miyan Ki Malhar we should hold NI (Nishad) for a longer period, Like: “NI  S  DHA   NI   S   S   SA”.
  • In Bahar Raag use of SA  MA  shows the identification mark of the Raag, and in Miyan Ki Malhar RE  PA  shows the identification mark for the raag. With their use, we can differentiate these.
  • Usually, Vadi-Samvadi Swaras are the same for both Raags but still some scholars mention SA-PA as Vadi-Samvadi of Miyan Ki Malhar.


1. This Raag belongs to which thaat?
a) Kafi
b) Kalyan
c) Pooriya
d) Bhairav

2. Select Jati of this Raag?
a) Sampoorna - Sampoorna,
b) Sampoorna - Shadav,
c) Shadav - Audav,
d) Shadav - Sampoorna

3. Select the correct combination of Vadi-Samvadi?
a) RE-MA
c) MA-PA
d) MA-SA

4. What is the suitable time for this raag?
a) Early Morning,
b) Afternoon,
c) Evening,
d) Mid-Night

5. It is allowed to use only one Ni (Nishad) in this raag either Shudh Ni or Komal Ni?
a) True,
b) False

Answers: 1(a), 2(b), 3(d), 4(d), 5(False).

Compositions Performed by Masters in this Raag