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| Thaat | Marwa |
|---|---|
| Time of day | Just after sunset |
| Arohana | N Ṟ G M̄ D N Ṟ Ṡ |
| Avarohana |
|
| Vadi | G |
| Samavadi | N |
Puriya is a major hexatonic raga of Hindustani classical music. It was created by Amir Khusrau.
Note emphasis: Ni, Ga, (Ma is an important pivot note.)
Ni Ni Ni Ma, Ni Dha Ni
re Sa
Ma, (Ni) D (Sa) Ni (re) Sa () = grace note
Ni re Ga
Ni re Ga, Ga re Sa
Ni re Ma Ma Ga
Ma Dha Ni, Ma Dha, Ga Ma G
| Property | Value |
|---|---|
| Thaat | Marwa |
| Ascending | N r G M D N r S |
| Descending | S N D M G r S N or r N D M Gg, M G r S |
| Samar (time of day) | Sunset or just after |
| Rasa | Shanti (equanimity/peace) Gambhir (seriousness) |
| Related ragas | Kanada, Hindol, Kalyan (Iman) |
| Jati/Type | Shadava-Shadava |
Bor, Joep (c. 1997), The Raga Guide, Charlottesville,Virginia: Nimbus Records, archived from the original on 15 July 2009
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Swara or svara is an Indian classical music term that connotes simultaneously a breath, a vowel, a note, the sound of a musical note corresponding to its name, and the successive steps of the octave, or saptanka. More comprehensively, it is the ancient Indian concept of the complete dimension of musical pitch. At its most basic comparison to western music, a swara is, essentially, a "note" of a given scale. However, that is but a loose interpretation of the word, as a swara is identified as both a musical note and tone; a "tone" is a precise substitute for sur, relating to "tunefulness". Traditionally, Indian musicians have just seven swaras/notes with short names: sa, re, ga, ma, pa, dha, ni, which they collectively refer to as saptank or saptaka. This is one of the reasons why swara is considered a symbolic expression for the number seven. In another loose comparison to western music, saptak may be interpreted as solfège, e.g. the notes of a scale as Do, Re, Mi, Fa, Sol, La, Ti .Saptak can named as heptave because it contains seven notes.
Bihagara is an Indian musical raga (composition) that appears in the Sikh tradition from northern India and is part of the Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes and their interplay that has to be adhered to for the composition of a tune. The Guru Granth Sahib consists of 60 ragas and this is the twenty-second raga to appear in the series. The composition in this raga appears from page 537 to 557.
Bilaval or Bilawal is a raga and the basis for the eponymous thaat in Hindustani classical music. Raga Bilaval is named after Veraval, Gujarat.
Bhairav is a Hindustani classical raga of Bhairav thaat. It is a sampurna raga that is traditionally performed in the morning and also as the beginning piece in concerts. It is the defining raga of its own Thaat.
Devagandhari is a raga in Indian classical music. In carnatic classical music, Devagandhari is a janya raga, whose melakarta raga is Shankarabharanam, 29th in the 72 Melakarta raga system. This is not to be confused with Karnataka Devagandhari, which is a janya of Kharaharapriya similar to Abheri.
This is an India musical raga (composition) that appears in the Sikh tradition from northern India and is part of the Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune.
Bhairavi is a Hindustani Classical heptatonic (Sampurna) raga of Bhairavi thaat. In Western musical terms, raga Bhairavi employs the notes of the Phrygian mode, one of the traditional European church modes.
Marva or Marwa portrays being with one's lover and is often portrayed in Ragamala paintings as two couples kissing. It is a hexatonic Indian raga; Pa is omitted. Marva is the eponymous raga of the Marva thaat.
Hameer is a nocturnal Hindustani classical raga nominally placed in Kalyan thaat. All the (shuddha swaras along with (teevra madhyam are used in it. Generally, its vaadi swar is dhaivat and the samavaadi swar is gandhar. However, some exponents consider the vaadi swar to be pancham as Hameer is mainly sung in the upper half of an octave and is nocturnal. Pancham is not taken in the aaroh but is taken in avroh. Its jati is "Sampurn Sampurn". "Vadi Svar" is Dhaivat and Samvadi Swar is Gandhar.
Tilak Kamod is a Hindustani classical raga.
Desh or Des is a Hindustani classical music raga which belongs to the Khamaj thaat. This raga is very similar to raga Khamaj.
Hindol is a Hindustani classical raga from the Kalyan Thaat.
Nat Bhairav is a Hindustani classical heptatonic (Sampurna) raga of Bhairav Thaat. Traditionally it is a morning raga. It is one of the most important ragas of the Bhairav anga.
In Hindustani music, a Chalan is an extensive series of note patterns which summarises the development of a particular raga. It discloses the basic grammar of the raga and provides a treatment and melodic context of each tone.
Rishabha is the second svara out of the seven svaras of Hindustani music and Carnatic music. Rishabha is the long form of the syllable रे for simplicity while singing the syllable. Rishabha is pronounced as Re and Ri.
Gandhara is the 3rd svara from the seven svaras of Hindustani music and Carnatic music. Gandhara is the long form of the syllable ग. For simplicity in pronouncing while singing the syllable, Gandhara is pronounced as Ga.
Dhaivata is the sixth svara from the seven svaras of Hindustani music and Carnatic music. Dhaivata is the long form of the syllable ध. For simplicity in pronouncing while singing the syllable, Dhaivata is pronounced as Dha.
Nishada is the seventh and last svara in Hindustani music and Carnatic music. Nishada is the long form of the syllable नी. For simplicity in pronouncing while singing the syllable, Nishada is pronounced as Ni.
Shadaj is the first svara out of the seven svaras of Hindustani music and Carnatic music. Shadaj is the long form of the syllable सा. For simplicity in pronouncing while singing the syllable, Shadaj is pronounced as Sa. It is also called as षड्ज in the Devanagri script.
Madhyam is the fourth svara from the seven svaras of Hindustani music and Carnatic music. This article is written from the Hindustani perspective. Madhyam is the long form of the syllable म. For simplicity in pronouncing while singing the syllable, Madhyam is pronounced as Ma. It is also called as मध्यम in the Devanagri script.