Md.Rishad: expand layout per standard format and cleaned formatting after review

2025-11-25T18:40:07Z

expand layout per standard format and cleaned formatting after review

imported>Oshwah: Reverted edits by 2603:3007:2700:F700:5455:9F1D:9D06:8FB3 (talk) (HG) (3.4.10)

2021-08-19T01:21:21Z

Reverted edits by 2603:3007:2700:F700:5455:9F1D:9D06:8FB3 (talk) (HG) (3.4.10)

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{{for|the thaat of the same name|Marva (thaat)}}
{{Infobox raga
| name = Marva (raga)
| image_name =
| image_alt =
| thaat = [[Marva (thaat)|Marva]]
| type =
| time = Sunset
| season =
| arohana = 'Ni {{underline|Re}} Ga {{overline|Ma}} Dha Ni {{underline|Re'}} S'
| avarohana = {{underline|Re'}} Ni Dha {{overline|Ma}} Ga {{underline|Re}} 'Ni 'Dha Sa
| vadi =
| samavadi =
| pakad =
| chalan =
| synonym =
| equivalent =
| similar =
}}
{{Hindustani Classical Music}}
'''Marva''' or '''Marwa''' ({{IAST3|Mārvā}}) is a [[hexatonic]] Indian [[raga]]; Pa (the fifth tone) is omitted. Marva is the eponymous raga of the [[Marva (thaat)|Marva thaat]].

== Aroha and Avaroha ==

[[Arohana]]: 'Ni {{underline|Re}} Ga {{overline|Ma}} Dha Ni {{underline|Re'}} S'

Keeping the key in C, in the Western scale this would roughly translate to: B D-bemol E F-sharp A B D-bemol C

[[Avarohana]]: {{underline|Re'}} Ni Dha {{overline|Ma}} Ga {{underline|Re}} 'Ni 'Dha Sa

The Ma is actually Ma Tivratara, which is a perfect fourth above Re komal (which is 112 cents above Sa)<ref>Gosvami(1957) p. 236 f.</ref>)

== Vadi and Samvadi ==

The [[Vadi (music)|Vadi]] is komal Re, while the [[Samvadi]] is shuddh Dha. Notice that these do not form a perfect interval. So V.N.Paṭvardhan <ref>Rāg Vijñān, Vol. II, p.1</ref> 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" <ref>Jairazbhoy(1995) p. 44</ref> On the other hand if Ga receives too much emphasis, it would create the impression of raga [[Puriya]]<ref>Bor p. 114</ref>

==Pakad or Chalan==

Sa is omitted within a [[taan]]; it may only be used at the end of a phrase and even then is used infrequently. [[Vishnu Narayan Bhatkhande|Bhatkhande]] gives the [[pakad]] as Dha {{overline|Ma}} Ga {{underline|Re}}, Ga {{overline|Ma}} Ga, {{underline|Re}}, Sa. Patwardan has shown the [[mukhya ang]] as {{underline|Re}} Ga {{overline|Ma}} Dha, Dha {{overline|Ma}} Ga {{underline|Re}}, but points out that the raga is also clearly indicated by: 'Ni {{underline|Re}} Ga {{overline|Ma}} Dha, Dha {{overline|Ma}} Ga {{underline|Re}} 'Ni {{underline|Re}} Sa.<ref>Bagchee p. 318</ref>

The [[Raga|chalan]] given by Ruckert is: 'Ni 'Dha {{underline|Re}} 'Ni 'Dha {{overline|'Ma}} 'Ni 'Dha 'Ni 'Dha Sa {{underline|Re}} Ga {{overline|Ma}} Dha {{overline|Ma}} Ni Dha {{overline|Ma}} Ga {{underline|Re}} Sa 'Ni 'Dha {{underline|Re}} Sa <ref>Bagchee p.318</ref>

== Organisation & Relationships ==

[[Thaat]]: [[Marva (thaat)|Marwa]]<ref>Jairazbhoy(1995)</ref>).

[[Puriya]] and [[Sohni]] 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 (music)|Bhairavi]]<ref>Mukherji p. 67</ref>

According to O.Thakur<ref>Moutal p.77</ref> [[Pūrvā Kalyāṇa]] is Marwa with Pa and less emphasis on komal Re. R. Jha<ref>Vol 1 p 116</ref> treats [[Bhaṭiya]] as a mixture of Marwa and [[Maand]].<ref>Moutal p. 207</ref> There is only one Author (B. Subba Rao) mentioning a raga Māravā Gaurī, thus Moutal does not consider this an own form.<ref>Moutal p. 257</ref> Aspects of Marwa are also incorporated in Mali Gaura<ref>Moutal p.493</ref>

For western listeners the tone material may feel strange. As the sixth is emphasised while the tonic 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.

== Behaviour ==
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" .



===Samay (Time)===
Sunset
5:30 pm

===Rasa===
Bor characterizes Marwa as "heroic".<ref>Bor (1999) p.114</ref> In [[ragamala paintings]] Malav (see history) is often pictured as lovers walking towards the bed-chamber.

Marwa is also characterised as quiet, contemplative, representing gentle love. According to Kaufmann<ref>Kaufmann p. 315</ref> is the overall mood defined by the sunset in India, which approaches fast and this "onrushing darkness awakes in many observers a feeling of anxiety and solemn expectation".

[[Puṇḍarika Viṭṭhala]]<ref>see literature</ref> describes as follows:<ref>Kaufmann p.315</ref>" 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 (music)|nyasa]]".

==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 its melodic outline is very similar to today's Marwa <ref>Bor (1999)p.114</ref> Also Jairazbhoy reports that [[Locana]]'s [[Mālavā]] "may be the origin of modern Mārvā" <ref>Jairazbhoy p.94</ref>

===Important Recordings===
* [[Amir Khan (singer)|Amir Khan]], Ragas Marwa and Darbari, [[Odeon Records|Odeon]] [[LP record|LP (long-playing record)]], ODEON-MOAE 103, later reissued by [[HMV]] as EMI-EALP1253. This recording redefined Marwa by moving the primary development down to the lower octave compared to the traditionally middle octave.
* [[Ravi Shankar]], "Ravi Shankar in New York", Angel Records (July 18, 2000). ASIN: B00004U92S. Original Recording 1968.
* [[Imrat Khan]], "Raga Marwa", [[Nimbus Records]] (1992), NI 5356 (recorded July 10, 1990)
* [[Ali Akbar Khan]], "Raag Marwa" [[Connoisseur Society US]] (1968)
*[[Ustad Rashid Khan]], "Raag Marwa" [[Masterworks from the NCPA archives]] (Aug 1984)

== References ==
{{Reflist}}

== External links ==
*[http://www.parrikar.org/hindustani/marwa/ Detailed analysis of Raga Marwa and associated ragas by Rajan Parrikar; backed by audio samples.]
*[https://oceanofragas.com/ocean_HtmlPages/marwa.html More details about raga Marwa]

== Literature ==
*{{Citation
| last=Bagchee
| first=Sandeep
| title=Nād, Understanding Rāga Music
| publisher=Eshwar (Business Publication Inc.)
| place=Mumbai
| year=1998
| ISBN=81-86982-07-8
}}
*{{Citation
|last=Bor
|first=Joep
|title=The Raga Guide
|publisher=Nimbus Records
|place=Charlottesville, Virginia
|year=c. 1997
|url=http://www.wyastone.co.uk/nrl/world/5536a.html
|url-status=dead
|archiveurl=https://web.archive.org/web/20090715224806/http://www.wyastone.co.uk/nrl/world/5536a.html
|archivedate=2009-07-15
}}
*{{Citation
| last=Gosvami
| first=O.
| title=The Story Of Indian Music
| publisher=Asia Publishing House
| place=Bombay
| year=1957
}}
*{{Citation
| last=[[Nazir Jairazbhoy|Jairazbhoy]]
| first=N.A.
| title=The Rags of North Indian Music: Their Structure & Evolution
| publisher=Popular Prakashan
| place=Bombay
| year=1995
}}
*{{Citation
| last=Jha
| first=Ramashraya
| title=Ābhinava Gītānjali (2 vols)
| publisher=Sangeet Sadan Prakashan
| place=Allahabad
| year=1968–78
}}
*{{Citation
| last=Kaufmann
| first=Walter
| title=The Ragas of North India
| publisher=Oxford & IBH Publishing
| place=Calcutta
| year=1968
}}
*{{Citation
| last=Moutal
| first=Patrick
| title=A Comparative Study of Selected Hindustāni Rāga-s
| publisher=Munshiram Manoharlal Publishers Pvt Ltd
| place=New Dheli
| year=1991
| ISBN=81-215-0526-7
}}
*{{Citation
| last=Mukherji
| first=Kumar Prasad
| title=The Lost World Of Hindustani Music
| publisher=Penguin India
| place=New Dheli
| year=2006
| ISBN=0-14-306199-2
}}
*{{Citation
| last=Viṭṭhala
| first=Puṇḍarika
| title=Rāga-Mālā
| year=1576
| publisher=(Bhandarkar Oriental Institute, Poona MS No. 1062)
}}

{{Hindustani Classical Music page end}}
{{Rāgas as per Performance Time}}
{{Authority control}}

[[Category:Hindustani ragas]]

Marva (raga) - Revision history

Md.Rishad: expand layout per standard format and cleaned formatting after review

imported>Oshwah: Reverted edits by 2603:3007:2700:F700:5455:9F1D:9D06:8FB3 (talk) (HG) (3.4.10)