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{{ | {{Short description|Hexatonic Indian raga}} | ||
{{For|the thaat of the same name|Marva (thaat)}} | |||
{{Infobox raga | {{Infobox raga | ||
| name = Marva (raga) | | name = Marva (raga) | ||
| image_name = | | image_name = Maru Ragini (6125107700).jpg | ||
| image_alt = | | image_alt = | ||
| thaat = [[Marva (thaat)|Marva]] | | thaat = [[Marva (thaat)|Marva]] | ||
| Line 15: | Line 16: | ||
| chalan = | | chalan = | ||
| synonym = | | synonym = | ||
| equivalent = | | equivalent = Malavi, Maru | ||
| similar = | | similar = | ||
}} | }} | ||
{{Hindustani Classical Music}} | {{Hindustani Classical Music}} | ||
Raag Marwa or Marva is an Indian [[Raga|raag]] belonging to [[Hindustani classical music]]. This is a masculine raaga and conveys an emotion of longing or separation.This is a sandhiprakash raaga of sandhyakaaleen samay.This means that it is sung during [[dusk]] hour. This raag includes Teervra Madhyam and Komal Rishab and Pancham the 5th note is totally [[varjit]] or prohibited. The Kshadaj or Sa in this raag hold a special place. Kshadaj is considered to be the most important swara in this raag but is allowed to be used as minimum as possible in order to create a feeling of longing and frustration of patience for the swara. This minimizling the use of Kshadaj ultimately helps the raaga to achieve its proper mood | |||
== Aroha and Avaroha == | == Aroha and Avaroha == | ||
[[Arohana]]: 'Ni {{underline|Re}} Ga {{overline|Ma}} Dha Ni {{underline|Re'}} S' | [[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 | Keeping the key in C, in the Western scale this would roughly translate to: B D♭ E F♯ A B D♭ C | ||
[[Avarohana]]: {{underline|Re'}} Ni Dha {{overline|Ma}} Ga {{underline|Re}} 'Ni 'Dha Sa | [[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>) | 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 == | == 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> | |||
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== | ==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> | 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> | 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 | == Organisation and relationships == | ||
[[Thaat]]: [[Marva (thaat)|Marwa]]<ref>Jairazbhoy (1995)</ref> | |||
[[Puriya]] and [[Sohni]] have the same tonal material. In Puriya Ni and especially Ga are emphasised. | |||
[[Puriya]] and [[Sohni]] have the same tonal material. In Puriya Ni and | |||
Komal re of Marwa is slightly higher than komal re of [[Bhairavi (music)|Bhairavi]]<ref>Mukherji p. 67</ref> | 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 | 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>{{Full citation needed|date=October 2024}} 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. | 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. | ||
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== Behaviour == | == 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" . | 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" . | ||
<!-- | |||
<!-- Because Pa is forbidden in Marwa the drone strings of the sitar are tuned in Gha and Ga (even Ga is not an important note, but it is an important harmonic of Sa (and Dha))<ref>Jairazbhoy p.188</ref> --> | Because Pa is forbidden in Marwa the drone strings of the sitar are tuned in Gha and Ga (even Ga is not an important note, but it is an important harmonic of Sa (and Dha))<ref>Jairazbhoy p.188</ref> --> | ||
===Samay (Time)=== | ===Samay (Time)=== | ||
Sunset | Sunset (4 - 7 p.m.) | ||
===Rasa=== | ===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. | 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". | 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]] | [[Puṇḍarika Viṭṭhala]] (16th century) describes as follows:<ref>Kaufmann p.315</ref> | ||
{{Blockquote|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 | ==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> | 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 | ===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 [[ | * [[Amir Khan (singer)|Amir Khan]], Ragas Marwa and Darbari, [[Odeon Records|Odeon]] [[LP record|LP (long-playing record)]], ODEON-MOAE 103, later reissued by [[Saregama|His Master's Voice]] 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 | * [[Ravi Shankar]], "[[In New York (Ravi Shankar album)|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) | * [[Imrat Khan]], "Raga Marwa", [[Nimbus Records]] (1992), NI 5356 (recorded July 10, 1990) | ||
* [[Ali Akbar Khan]], "Raag Marwa" [[Connoisseur Society US]] (1968) | * [[Ali Akbar Khan]], "Raag Marwa" [[Connoisseur Society US]] (1968) | ||
*[[Ustad Rashid Khan]], "Raag Marwa" [[Masterworks from the NCPA archives]] (Aug | *[[Ustad Rashid Khan]], "Raag Marwa" [[Masterworks from the NCPA archives]] (Aug) | ||
* “Friends” by Led Zeppelin | |||
== | == Citations == | ||
{{Reflist|15em}} | |||
== | == General and cited references == | ||
*{{Citation | *{{Citation | ||
| last=Bagchee | | last=Bagchee | ||
| Line 93: | Line 91: | ||
| publisher=Eshwar (Business Publication Inc.) | | publisher=Eshwar (Business Publication Inc.) | ||
| place=Mumbai | | place=Mumbai | ||
| year=1998 | | year=1998 | ||
| ISBN=81-86982-07-8 | | ISBN=81-86982-07-8 | ||
}} | }} | ||
| Line 118: | Line 116: | ||
*{{Citation | *{{Citation | ||
| last=[[Nazir Jairazbhoy|Jairazbhoy]] | | last=[[Nazir Jairazbhoy|Jairazbhoy]] | ||
| first=N.A. | | first=N. A. | ||
| title=The Rags of North Indian Music: Their Structure & Evolution | | title=The Rags of North Indian Music: Their Structure & Evolution | ||
| place=Bombay | |||
| publisher=Popular Prakashan | | publisher=Popular Prakashan | ||
| year=1995 | | year=1995 | ||
}} | }} | ||
| Line 127: | Line 125: | ||
| last=Jha | | last=Jha | ||
| first=Ramashraya | | first=Ramashraya | ||
| title=Ābhinava Gītānjali | | title=Ābhinava Gītānjali | ||
| type=2 vols. | |||
| publisher=Sangeet Sadan Prakashan | | publisher=Sangeet Sadan Prakashan | ||
| place=Allahabad | | place=Allahabad | ||
| Line 152: | Line 151: | ||
| last=Mukherji | | last=Mukherji | ||
| first=Kumar Prasad | | first=Kumar Prasad | ||
| title=The Lost World | | title=The Lost World of Hindustani Music | ||
| publisher=Penguin India | | publisher=Penguin India | ||
| place=New Dheli | | place=New Dheli | ||
| Line 163: | Line 162: | ||
| title=Rāga-Mālā | | title=Rāga-Mālā | ||
| year=1576 | | year=1576 | ||
| publisher= | | publisher=Bhandarkar Oriental Institute | ||
| id = Poona MS No. 1062 | |||
}} | }} | ||
== 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] | |||
{{Hindustani Classical Music page end}} | {{Hindustani Classical Music page end}} | ||
Latest revision as of 00:10, 26 November 2025
.jpg) | |
| Thaat | Marva |
|---|---|
| Time of day | Sunset |
| Arohana | 'Ni Template:Underline Ga Template:Overline Dha Ni Template:Underline S' |
| Avarohana | Template:Underline Ni Dha Template:Overline Ga Template:Underline 'Ni 'Dha Sa |
| Equivalent | Malavi, Maru |
| Hindustani classical music |
|---|
| Concepts |
| Genres |
| Thaats |
Raag Marwa or Marva is an Indian raag belonging to Hindustani classical music. This is a masculine raaga and conveys an emotion of longing or separation.This is a sandhiprakash raaga of sandhyakaaleen samay.This means that it is sung during dusk hour. This raag includes Teervra Madhyam and Komal Rishab and Pancham the 5th note is totally varjit or prohibited. The Kshadaj or Sa in this raag hold a special place. Kshadaj is considered to be the most important swara in this raag but is allowed to be used as minimum as possible in order to create a feeling of longing and frustration of patience for the swara. This minimizling the use of Kshadaj ultimately helps the raaga to achieve its proper mood
Aroha and Avaroha[edit | edit source]
Arohana: 'Ni Template:Underline Ga Template:Overline Dha Ni Template:Underline S'
Keeping the key in C, in the Western scale this would roughly translate to: B D♭ E F♯ A B D♭ C
Avarohana: Template:Underline Ni Dha Template:Overline Ga Template:Underline 'Ni 'Dha Sa
The Ma is actually Ma Tivratara, which is a perfect fourth above Re komal (which is 112 cents above Sa)[1])
Vadi and Samvadi[edit | edit source]
The Vadi is komal Re, while the Samvadi is shuddh Dha. Notice that these do not form a perfect interval. So V.N.Paṭvardhan[2] 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"[3] On the other hand if Ga receives too much emphasis, it would create the impression of raga Puriya[4]
Pakad or Chalan[edit | edit source]
Sa is omitted within a taan; it may only be used at the end of a phrase and even then is used infrequently. Bhatkhande gives the pakad as Dha Template:Overline Ga Template:Underline, Ga Template:Overline Ga, Template:Underline, Sa. Patwardan has shown the mukhya ang as Template:Underline Ga Template:Overline Dha, Dha Template:Overline Ga Template:Underline, but points out that the raga is also clearly indicated by: 'Ni Template:Underline Ga Template:Overline Dha, Dha Template:Overline Ga Template:Underline 'Ni Template:Underline Sa.[5]
The chalan given by Ruckert is: 'Ni 'Dha Template:Underline 'Ni 'Dha Template:Overline 'Ni 'Dha 'Ni 'Dha Sa Template:Underline Ga Template:Overline Dha Template:Overline Ni Dha Template:Overline Ga Template:Underline Sa 'Ni 'Dha Template:Underline Sa[6]
Organisation and relationships[edit | edit source]
Puriya and Sohni have the same tonal material. In Puriya Ni and especially Ga are emphasised.
Komal re of Marwa is slightly higher than komal re of Bhairavi[8]
According to O.Thakur[9] Pūrvā Kalyāṇa is Marwa with Pa and less emphasis on komal Re. R. Jha[10][full citation needed] treats Bhaṭiya as a mixture of Marwa and Maand.[11] There is only one Author (B. Subba Rao) mentioning a raga Māravā Gaurī, thus Moutal does not consider this an own form.[12] Aspects of Marwa are also incorporated in Mali Gaura[13]
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[edit | edit source]
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)[edit | edit source]
Sunset (4 - 7 p.m.)
Rasa[edit | edit source]
Bor characterizes Marwa as "heroic".[14] 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[15] 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 (16th century) describes as follows:[16]
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.
Historical information[edit | edit source]
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[17] Also Jairazbhoy reports that Locana's Mālavā "may be the origin of modern Mārvā"[18]
Important recordings[edit | edit source]
- Amir Khan, Ragas Marwa and Darbari, Odeon LP (long-playing record), ODEON-MOAE 103, later reissued by His Master's Voice 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, "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)
- “Friends” by Led Zeppelin
Citations[edit | edit source]
- ↑ Gosvami (1957) p. 236 f.
- ↑ Rāg Vijñān, Vol. II, p.1
- ↑ Jairazbhoy(1995) p. 44
- ↑ Bor p. 114
- ↑ Bagchee p. 318
- ↑ Bagchee p. 318
- ↑ Jairazbhoy (1995)
- ↑ Mukherji p. 67
- ↑ Moutal p. 77
- ↑ Vol 1 p. 116
- ↑ Moutal p. 207
- ↑ Moutal p. 257
- ↑ Moutal p. 493
- ↑ Bor (1999) p. 114
- ↑ Kaufmann p. 315
- ↑ Kaufmann p.315
- ↑ Bor (1999) p. 114
- ↑ Jairazbhoy p.94
General and cited references[edit | edit source]
- Bagchee, Sandeep (1998), Nād, Understanding Rāga Music, Mumbai: Eshwar (Business Publication Inc.), ISBN 81-86982-07-8
- Bor, Joep (c. 1997), The Raga Guide, Charlottesville, Virginia: Nimbus Records, archived from the original on 2009-07-15
- Gosvami, O. (1957), The Story Of Indian Music, Bombay: Asia Publishing House
- Jairazbhoy, N. A. (1995), The Rags of North Indian Music: Their Structure & Evolution, Bombay: Popular Prakashan
- Jha, Ramashraya (1968–78), Ābhinava Gītānjali (2 vols.), Allahabad: Sangeet Sadan Prakashan
- Kaufmann, Walter (1968), The Ragas of North India, Calcutta: Oxford & IBH Publishing
- Moutal, Patrick (1991), A Comparative Study of Selected Hindustāni Rāga-s, New Dheli: Munshiram Manoharlal Publishers Pvt Ltd, ISBN 81-215-0526-7
- Mukherji, Kumar Prasad (2006), The Lost World of Hindustani Music, New Dheli: Penguin India, ISBN 0-14-306199-2
- Viṭṭhala, Puṇḍarika (1576), Rāga-Mālā, Bhandarkar Oriental Institute, Poona MS No. 1062
External links[edit | edit source]
- Detailed analysis of Raga Marwa and associated ragas by Rajan Parrikar; backed by audio samples.
- More details about raga Marwa
| Concepts |  | |
|---|---|---|
| Instruments | ||
| Genres | ||
| Semi-classical genres | ||
| Thaats | ||