Born on April 8 1924, Pandit Kumar Gandharva (original name: Shivaputra Siddharamaiyya Komkali) was the leading intellectual

among Hindustani Classical Musicians. His original style and his refusal to stay within the confines of the Gharana tradition of Hindustani music made him a controversial figure. The name Kumar Gandharva is a title given to him when he was a child prodigy; a Gandharva is a musical spirit in Hindu mythology Although no one has seriously questioned his dedication, understanding and intellectual and emotional depth, it remains true that he never reached the heights of general popularity that his contemporaries such as Bhimsen Joshi and Mallikarjun Mansur achieved. He was diagnosed with tuberculosis and lost his one lung. He overcame this setback by developing an original style of singing, which relied on short, sharp bursts of music rather than the deep, sonorous, slow and long phrases that characterize Hindustani vocal music. Kumarji's strongest point was his ability to place his own distinctive interpretation on anything that he sang, and a very wide range of ragas. He would have command over many complicated ragas which were difficult to perform in this case it is raag Malkauns. He would not only perform Hindustani classical music but also on bhajans and folk songs. His concerts would often depend on the responses of the audience. He would wind up early if he found out that audience was dis-interested. Raag malkauns is often known as raag malkush. It is one of the most oldest raga of the Indian classical music. Malkauns is a serious, meditative raga,and is mostly in the mand saptak and in vilambit laya. Komal Ni is graha swara, All five swaras can function as pausing notes. The best time for this raga is late night. The effect of the raga is soothing and intoxicating.

Notes of Raag Malkauns are: Sa, Komal Ga, Shuddha Ma, Komal Dha, komal Ni. At the start of the conmcert panditji uses alaap in vilambit laya to showcase his command over the raag. He plays around with the notes creates an exciting yet a very calm and soothing environment. It is sung in Jhaptal which has 10 matras.

The audience is thoroughly enjoying and listening to the composition intently. In the latter part of the concert the raag is sung in dhrut teen taal. He is very effective when he changes the laya to dhrut. With change in laya and taal the audience can feel the energy in the environment. With panditji explaining the bol which means that everything is good and happens for a reason.Teen taal is basic and one of the most popular taals of Indian classical music. It has 16 matras, I feel that Kumar Gandharvaji is a master when it comes to classical singin specially his creation in the dhrut laya. The vilambit laya was soothing and calm where as the Dhrut laya was exciting. His creativity was very evident when he everytime to show the new avartan he would come up with new variations and alaps that complemented the mood and fell in place effortlessly.