Marva (raga): Difference between revisions

Marva (raga)
Thaat	Marva
Time of day	Sunset
Arohana	'Ni Re Ga Ma Dha Ni Re' S'
Avarohana	Re' Ni Dha Ma Ga Re 'Ni 'Dha Sa
Equivalent	Malavi, Maru

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Marva or Marwa (IAST: Mārvā) portrays being with one's lover and is often portrayed in Ragamala paintings as two couples kissing. It is a hexatonic Indian raga; Pa (the fifth tone) is omitted. Marva is the eponymous raga of the Marva thaat.

Aroha and Avaroha

Arohana: 'Ni Re Ga Ma Dha Ni Re' S'

Keeping the key in C, in the Western scale this would roughly translate to: B D♭ E F♯ A B D♭ C

Avarohana: Re' Ni Dha Ma Ga Re '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

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

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 Ma Ga Re, Ga Ma Ga, Re, Sa. Patwardan has shown the mukhya ang as Re Ga Ma Dha, Dha Ma Ga Re, but points out that the raga is also clearly indicated by: 'Ni Re Ga Ma Dha, Dha Ma Ga Re 'Ni Re Sa.^[5]

The chalan given by Ruckert is: 'Ni 'Dha Re 'Ni 'Dha 'Ma 'Ni 'Dha 'Ni 'Dha Sa Re Ga Ma Dha Ma Ni Dha Ma Ga Re Sa 'Ni 'Dha Re Sa^[6]

Organisation and relationships

Thaat: Marwa^[7]

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

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 p.m.

Rasa

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

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

Amir Khan, Ragas Marwa and Darbari, Odeon 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, "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)
“Friends” by Led Zeppelin

Citations

^ 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

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

[1] Gosvami (1957) p. 236 f.

[2] Rāg Vijñān, Vol. II, p.1

[3] Jairazbhoy(1995) p. 44

[4] Bor p. 114

[5] Bagchee p. 318

[6] Bagchee p. 318

[7] Jairazbhoy (1995)

[8] Mukherji p. 67

[9] Moutal p. 77

[10] Vol 1 p. 116

[11] Moutal p. 207

[12] Moutal p. 257

[13] Moutal p. 493

[14] Bor (1999) p. 114

[15] Kaufmann p. 315

[16] Kaufmann p.315

[17] Bor (1999) p. 114

[18] Jairazbhoy p.94

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@@ Line 1: / Line 1: @@
+{{Short description|Hexatonic Indian raga}}
-{{for|the thaat of the same name|Marva (thaat)}}
+{{For|the thaat of the same name|Marva (thaat)}}
 {{Infobox raga
 | name          = Marva (raga)
-| image_name    =
+| image_name    = Maru Ragini (6125107700).jpg
 | image_alt     =
 | thaat         = [[Marva (thaat)|Marva]]
@@ Line 15: / Line 16: @@
 | chalan        =
 | synonym       =
-| equivalent    =
+| equivalent    = Malavi, Maru
 | 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]].
+'''Marva''' or '''Marwa''' ({{IAST3|Mārvā}}) portrays being with one's lover and is often portrayed in [[Ragamala paintings]] as two couples kissing. It 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♭  E F♯ A B  D♭  C
+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
-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 ==
+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==
 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 & Relationships ==
+== 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.
-[[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>
+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.
@@ Line 55: / Line 53: @@
 == 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" .
+<!--
-<!-- 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)===
-Sunset
+Sunset 5:30 p.m.
-: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.
+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]] (16th century) describes as follows:<ref>Kaufmann p.315</ref>
-[[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]]".
+{{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]].
-==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>
+In Marwa Ni and Ga are sharp, Sa is the [[graha]] and amsa and Ri and Dha are the [[nyasa (music)|nyasa]].}}
-===Important Recordings===
+==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]], "[[In New York (Ravi Shankar album)|In New York]]", Angel Records (July 18, 2000). ASIN: B00004U92S. Original Recording 1968.
@@ Line 80: / Line 81: @@
 * “Friends” by Led Zeppelin
-== References ==
+== Citations ==
-{{Reflist}}
+{{Reflist|15em}}
-== 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]
+== General and cited references ==
-== Literature ==
 *{{Citation
  | last=Bagchee
@@ Line 94: / Line 91: @@
  | publisher=Eshwar (Business Publication Inc.)
  | place=Mumbai
+ | year=1998
- | year=1998
  | ISBN=81-86982-07-8
 }}
@@ Line 119: / Line 116: @@
 *{{Citation
  | last=[[Nazir Jairazbhoy|Jairazbhoy]]
- | first=N.A.
+ | first=N. A.
  | title=The Rags of North Indian Music: Their Structure & Evolution
+ | place=Bombay
  | publisher=Popular Prakashan
- | place=Bombay
  | year=1995
 }}
@@ Line 128: / Line 125: @@
  | last=Jha
  | first=Ramashraya
- | title=Ābhinava Gītānjali (2 vols)
+ | title=Ābhinava Gītānjali
+ | type=2 vols.
  | publisher=Sangeet Sadan Prakashan
  | place=Allahabad
@@ Line 153: / Line 151: @@
  | last=Mukherji
  | first=Kumar Prasad
- | title=The Lost World Of Hindustani Music
+ | title=The Lost World of Hindustani Music
  | publisher=Penguin India
  | place=New Dheli
@@ Line 164: / Line 162: @@
  | title=Rāga-Mālā
  | year=1576
- | publisher=(Bhandarkar Oriental Institute, Poona MS No. 1062)
+ | 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}}

v t e Hindustani classical music
Concepts	Swara That Shruti Raga Sargam Tala Laya Bandish Gharana Swaralipi
Instruments	Sitar Sarod Veena Bansuri Santoor Shehnai Sarangi Tanpura Harmonium Tabla Pakhavaj
Genres	Dhrupad Dhamar Khyal Tarana Sadra
Semi-classical genres	Thumri Dadra Tappa Kajari Chaiti Bhatiali Sawani Hori Bhajan Abhang NatyaSangeet Qawwali Ghazal
Thaats	Bilaval Khamaj Kafi Asavari Bhairav Bhairavi Todi Purvi Marva Kalyan

v t e Ragas as per performance time
Morning	Ahir Bhairav Asavari Bairagi Bhairav Basant Mukhari Bhairav Bhankar Bhatiyar Bhoopal Todi Bilaskhani Todi Bilawal Deshkar Desi Gunakri Gurjari Hindol Jaunpuri Jogiya Kalingada Lalit Nat Bhairav Sohni Todi Vibhas
Afternoon	Bhimpalasi Gaud Sarang Madhuvanti Madhyamad Sarang Marwa Multani Patdeep Poorvi Shree Shuddh Sarang
Evening	Amrith Kalyan Bhoopali Desh Hansdhwani Hamsa Kalyan Kamod Khamaj Maru Bihag Pahadi Puriya Puriya Dhanashree Sham Kalyan Shankara Shuddh Kalyan Tilang Yaman Yaman Kalyan
Night	Adana Bageshri Bahar Basant Bhinna Shadja Bhimsen Bihag Chandani Kedar Chandrakauns Chhayanat Darbari Durga Gorakh Kalyan Hameer Jaijaivanti Jhinjhoti Kalavati Kedar Kirwani Malgunji Malhar Malkauns Malkauns Pancham Nand Rageshri Shivranjani Tilak Kamod
Anytime	Bhairavi Charukeshi Dhani Gara JanaSammohini Kafi Mand Piloo Vrindavani Sarang
Season	Gaud Malhar Miyan Malhar