Raga Marwa
Encyclopedia
Marwa is an hexatonic Indian raga
; Pa (the fifth tone) is omitted. Marwa is also the name of the thaat
.
Ṇi re_ Ga Ma_ Dha Ni re# S'
In the Western scale this would roughly translate to: C D-flat E F-sharp A B c
Avarohana
re_ Ni Dha Ma_ Ga re Ṇ Ḍ S
The Ma is actually Ma Tivratara, which is a perfect fourth above re komal (which is 112 cents above Sa))
is komal Re, while the Samvadi is shuddh Dha. Notice that these do not form a perfect interval. So V.N.Paṭvardhan says "It is customary to give Re and Dha as vādi and saṃvādi, but seen from the point of view of the śāstras (treatises) it is not possible for re and Dha to be saṃvādī (i.e. consonant) to each other. For this reason, in our opinion it is proper to accept Dha as vādī and Ga as saṃvādī" On the other hand if Ga receives too much emphasis, it would create the impression of raga Puriya
; it may only be used at the end of a phrase and even then is used infrequently. Bhatkhande
gives the pakad
as Dha Mâ Ga re, Ga Mâ Ga, re, Sa. Patwardan has shown the mukhya ang as re Ga Mâ Dha, Dha Mâ Ga re, but points out that the raga is also clearly indicated by: Ṇi re Ga Mâ Dha, Dha Mâ Ga re Ṇi re Sa.
The chalan
given by Ruckert is: Ṇi Ḍha re__ Ṇi Ḍha Ṃâ Ṇi Ḍha Ṇi Ḍha Sa__ re' Ga Mâ Dha__ Mâ Ni Dha Mâ Ga re__ Sa Ṇi Ḍha re Sa__
: Marwa).
Puriya
and Sohini have the same tonal material. In Puriya Ni and specially Ga are emphasised.
Komal re of Marwa is slightly higher than komal re of Bhairavi
According to O.Thakur Pūrvā Kalyāṇa is Marwa with Pa and less emphasis on komal Re. R. Jha treats Bhaṭiya as a mixture of Marwa and Maand.There is only one Author (B. Subba Rao) mentioning a raga Māravā Gaurī, thus Moutal does not consider this an own form . Aspects of Marwa are also incorporated in Mali Gaura
For western listeners the tone material may feel strange. As the sixth is emphasised while the tonica is omitted it may feel like playing in A Major, while the base tone is C (not C sharp). If the musician turns back to Sa at the end of a phrase it always comes like a surprise note.
Other ragas in thaat Marwa:
Marwa is also characterized as quiet, contemplative, representing gentle love. According to Kaufmann is the overall mood defined by the sunset in India, which approaches fast and this "unrushhing darkness awakes in many observers a feeling of anxiety and solemn expectation".
Puṇḍarika Viṭṭhala describes as follows:" The king at war always worship Maravi, whose face shines like the moon and who has long tresses of hair. With moist eyes, faintly smiling, she is adorned skillfully with sweet smelling flowers of different varieties. Her complexion gleams like gold; she is attired in red and her eyes are like those of a fawn. She is the elder sister of Mewar
. In Marwa Ni and Ga are sharp, SA is the graha and amsa
and Ri and Dha are the nyasa
".
's Mālavā "may be the origin of modern Mārvā"
Raga
A raga is one of the melodic modes used in Indian classical music.It is a series of five or more musical notes upon which a melody is made...
; Pa (the fifth tone) is omitted. Marwa is also the name of the thaat
Thaat
A thāt is a mode in northern Indian or Hindustani music. Thāts always have seven different pitches and are a basis for the organization and classification of ragas in North Indian classical music.- System :...
.
Aroha and Avaroha
ArohanaArohana
Arohana, Arohanam or Arohan, in the context of North Indian Classical Music and South Indian Classical Music, is the ascending scale of notes in a raga...
Ṇi re_ Ga Ma_ Dha Ni re# S'
In the Western scale this would roughly translate to: C D-flat E F-sharp A B c
Avarohana
Avarohana
An Avarohana, Avarohanam or Avarohan in Indian classical music terminology is the descending scale of any raga. Each raga has an avarohana and arohana. The notes descend in pitch from the octave tonic down to the lower tonic...
re_ Ni Dha Ma_ Ga re Ṇ Ḍ S
The Ma is actually Ma Tivratara, which is a perfect fourth above re komal (which is 112 cents above Sa))
Vadi and Samvadi
The VadiVadi
Vadi may refer to:* Vadi , musical note of special significance in Indian classical music* "Vadi" or Wadi, an Arabic term for valley or a dry riverbed* Fillipo Vado, author of De Arte Gladiatoria Dimicandi, an Italian treatise on fighting...
is komal Re, while the Samvadi is shuddh Dha. Notice that these do not form a perfect interval. So V.N.Paṭvardhan says "It is customary to give Re and Dha as vādi and saṃvādi, but seen from the point of view of the śāstras (treatises) it is not possible for re and Dha to be saṃvādī (i.e. consonant) to each other. For this reason, in our opinion it is proper to accept Dha as vādī and Ga as saṃvādī" On the other hand if Ga receives too much emphasis, it would create the impression of raga Puriya
Puriya
- External links :Examples* -Literature:...
Pakad or Chalan
Sa is omitted within a taanTaan
You may be looking for either:*Taan , a virtuosic technique used in North Indian classical vocal music*Faerûn - A region of the Dungeons & Dragons Forgotten Realms Campaign Setting. It includes the Endless Wastes, the Quoya Desert, Ejen Horo, and the Plain of Horses...
; it may only be used at the end of a phrase and even then is used infrequently. Bhatkhande
Vishnu Narayan Bhatkhande
Pandit Vishnu Narayan Bhatkhande was an Indian musicologist who wrote the first modern treatise on Hindustani Classical Music , an art which had been propagated earlier for a few centuries mostly through oral traditions...
gives the pakad
Pakad
In Hindustani music, a pakad is a generally-accepted musical phrase thought to encapsulate the essence of a particular raga. The pakad contains the melodic theme of the raga, on listening to the pakad a person who knows the raga is usually able to identify it...
as Dha Mâ Ga re, Ga Mâ Ga, re, Sa. Patwardan has shown the mukhya ang as re Ga Mâ Dha, Dha Mâ Ga re, but points out that the raga is also clearly indicated by: Ṇi re Ga Mâ Dha, Dha Mâ Ga re Ṇi re Sa.
The chalan
Chalan
Chalan or chalán may refer to:* The development of a raga in Hindustani classical music, closely related to the Pakad concept* The rider of a Peruvian Paso horse.* A ferry in México, usually for narrow crossings where there is not a bridge...
given by Ruckert is: Ṇi Ḍha re__ Ṇi Ḍha Ṃâ Ṇi Ḍha Ṇi Ḍha Sa__ re' Ga Mâ Dha__ Mâ Ni Dha Mâ Ga re__ Sa Ṇi Ḍha re Sa__
Organization & Relationships
ThaatThaat
A thāt is a mode in northern Indian or Hindustani music. Thāts always have seven different pitches and are a basis for the organization and classification of ragas in North Indian classical music.- System :...
: Marwa).
Puriya
Puriya
- External links :Examples* -Literature:...
and Sohini have the same tonal material. In Puriya Ni and specially Ga are emphasised.
Komal re of Marwa is slightly higher than komal re of Bhairavi
Bhairavi (music)
Raag Bhairavi is a Hindustani Classical heptatonic Raag of Bhairavi Thaat. Traditionally it is a morning raga. In modern times, at least in Khyal Gayaki, it is usually performed as the concluding piece in concerts...
According to O.Thakur Pūrvā Kalyāṇa is Marwa with Pa and less emphasis on komal Re. R. Jha treats Bhaṭiya as a mixture of Marwa and Maand.There is only one Author (B. Subba Rao) mentioning a raga Māravā Gaurī, thus Moutal does not consider this an own form . Aspects of Marwa are also incorporated in Mali Gaura
For western listeners the tone material may feel strange. As the sixth is emphasised while the tonica is omitted it may feel like playing in A Major, while the base tone is C (not C sharp). If the musician turns back to Sa at the end of a phrase it always comes like a surprise note.
Other ragas in thaat Marwa:
- PuriyaPuriya- External links :Examples* -Literature:...
- Sohini
- LalitLalit (raga)Lalit is a raga in Hindustani classical music. It is commonly described as serene and devotional and is performed at dawn.The swara of Lalit put emphasis on the minor second and minor sixth , and include natural and sharp fourth , but omit the commonly used perfect fifth...
(although it is sometimes placed in PurviPurviPūrvi, sometimes transliterated as Poorvi is a Thaat raga; that is, its notes represent the material of a whole family of North Indian ragas. Purvi has a deeply serious, quiet and somewhat mystical character...
thaat) - BibhasBibhasBibhas is a Hindustani classical raga.-Theory:Writing about the musical theory of Indian classical music is fraught with complications. First of all, there have been no set, formal methods of written notation...
(two other types of BibhasBibhasBibhas is a Hindustani classical raga.-Theory:Writing about the musical theory of Indian classical music is fraught with complications. First of all, there have been no set, formal methods of written notation...
(Vibhasa) are placed in Bhairav thaat or PurviPurviPūrvi, sometimes transliterated as Poorvi is a Thaat raga; that is, its notes represent the material of a whole family of North Indian ragas. Purvi has a deeply serious, quiet and somewhat mystical character...
thaat) - Pancham (Hindol Pancham)
- Maligaura
- Purba (Purbya)
- Purvakalyan
- Jait (Jayat) (not to be confused with Jait Kalyan
- VaratiVäratiVärati is a village in Tõstamaa Parish, Pärnu County, in southwestern Estonia. It's located just south of Tõstamaa, the administrative centre of the municipality. Värati has a population of 41 ....
- BhatiyarBhatiyar- Theory :Writing about the musical theory of Indian classical music is fraught with complications. First of all, there have been no set, formal methods of written notation...
(Bhatyar, Bhatihar) - Bhankar (Bhakhar, Bhikhar)
- Lalita Gauri (sometimes placed in PurviPurviPūrvi, sometimes transliterated as Poorvi is a Thaat raga; that is, its notes represent the material of a whole family of North Indian ragas. Purvi has a deeply serious, quiet and somewhat mystical character...
-thaatThaatA thāt is a mode in northern Indian or Hindustani music. Thāts always have seven different pitches and are a basis for the organization and classification of ragas in North Indian classical music.- System :...
) - Sazgiri
Behavior
Ni is not a leading note to Sa. Because Sa is omitted Ni leads to re or Dha (and then only to Sa), as in "Ḍ Ṇ r S" or "r Ṇ Ḍ S" .Rasa
Bor characterizes Marwa as "heroic" . In ragamala paintings Malav (see history) is often pictured as lovers walking towards the bed-chamber.Marwa is also characterized as quiet, contemplative, representing gentle love. According to Kaufmann is the overall mood defined by the sunset in India, which approaches fast and this "unrushhing darkness awakes in many observers a feeling of anxiety and solemn expectation".
Puṇḍarika Viṭṭhala describes as follows:" The king at war always worship Maravi, whose face shines like the moon and who has long tresses of hair. With moist eyes, faintly smiling, she is adorned skillfully with sweet smelling flowers of different varieties. Her complexion gleams like gold; she is attired in red and her eyes are like those of a fawn. She is the elder sister of Mewar
Mewar
Mewar is a region of south-central Rajasthan state in western India. It includes the present-day districts of Pratapgarh, Bhilwara, Chittorgarh, Rajsamand, Udaipur, Dungarpur, Banswara and some of the part of Gujarat and Madhya Pradesh. The region was for centuries a Rajput kingdom that later...
. In Marwa Ni and Ga are sharp, SA is the graha and amsa
AMSA
AMSA can refer to:* Advanced Manned Strategic Aircraft, project name for the Rockwell B-1 Lancer* American Meat Science Association* American Medical Student Association* American Men's Studies Association* American Moving & Storage Association...
and Ri and Dha are the nyasa
Nyasa
Nyasa, also spelled Nyassa or Niassa, is a common word for "lake" in the languages spoken around what is now known as Lake Malawi. In the colonial period that lake was called Lake Nyasa and Malawi was named Nyasaland....
".
Historical Information
Marwa's forerunners (Maru or Maruva) have different scales in the literature from the 16th century onwards. Pratap Singh (end of 18th century) writes that Marwa is the same as the ancient Mālavā, and it's melodic outline is very similar to today's Marwa Also Jairazbhoy reports that LocanaLocana
Locana is a comune in the Province of Turin in the Italian region Piedmont, located about 45 km northwest of Turin in the Orco Valley...
's Mālavā "may be the origin of modern Mārvā"
Important Recordings
- Amir KhanUstad Amir KhanUstad Amir Khan was a well-known Indian classical vocalist. He is considered one of the most influential figures in Hindustani classical music, and the founder of the Indore Gharana.-Early life and background:...
, Ragas Marwa and Darbari, OdeonOdeon RecordsOdeon Records was a record label founded in 1903 by Max Straus and Heinrich Zuntz of the International Talking Machine Company in Berlin, Germany. It was named after a famous theatre in Paris, whose classical dome appears on the Odeon record label....
LP (long-playing record)LP recordThe LP, or long-playing microgroove record, is a format for phonograph records, an analog sound storage medium. Introduced by Columbia Records in 1948, it was soon adopted as a new standard by the entire record industry...
, ODEON-MOAE 103, later reissued by HMVHMVHis Master's Voice is a trademark in the music business, and for many years was the name of a large record label. The name was coined in 1899 as the title of a painting of the dog Nipper listening to a wind-up gramophone...
as EMI-EALP1253 - Ravi ShankarRavi ShankarRavi Shankar , often referred to by the title Pandit, is an Indian musician and composer who plays the plucked string instrument sitar. He has been described as the best known contemporary Indian musician by Hans Neuhoff in Musik in Geschichte und Gegenwart.Shankar was born in Varanasi and spent...
, "Ravi Shankar in New York", Angel Records (July 18, 2000). ASIN: B00004U92S. Original Recording 1968. - Imrat KhanImrat KhanImrat Khan is a leading sitar and surbahar player. He is the younger brother of sitar maestro Ustad Vilayat Khan.-Training and early career:...
, "Raga Marwa", Nimbus Records (1992), NI 5356 (recorded July 10th, 1990)
External links
Examples- (youtube)Pandit Bhimsen Joshi - Raag Marwa - Bangari Mori (part 1) part 2
- On P. Moutal's website are samples of D.V. Paluskar, Hirabai Barodekar, Nazakat & Salamat Ali Khan, Ramkrishna Vaze and Vinayak Rao Patwardhan