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34:
410:
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,
624:
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
578:
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.
651:
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 Also
Jairazbhoy reports that
613:
Marwa is also characterised as quiet, contemplative, representing gentle love. According to
Kaufmann 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".
720:
617:
575:. 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
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411:
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
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as EMI-EALP1253. This recording redefined Marwa by moving the primary development down to the lower octave compared to the traditionally middle octave.
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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" .
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285:
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The Ma is actually Ma
Tivratara, which is a perfect fourth above Re komal (which is 112 cents above Sa))
1074:
116:
1953:
427:
1608:
373:
Keeping the key in C, in the
Western scale this would roughly translate to: B D♭ E F♯ A B D♭ C
910:
Detailed analysis of Raga Marwa and associated ragas by Rajan
Parrikar; backed by audio samples.
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Malav (see history) is often pictured as lovers walking towards the bed-chamber.
426:; it may only be used at the end of a phrase and even then is used infrequently.
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693:", Angel Records (July 18, 2000). ASIN: B00004U92S. Original Recording 1968.
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have the same tonal material. In Puriya Ni and specially Ga are emphasised.
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343:; Pa (the fifth tone) is omitted. Marva is the eponymous raga of the
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974:
The Rags of North Indian Music: Their
Structure & Evolution
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is Marwa with Pa and less emphasis on komal Re. R. Jha treats
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951:, Charlottesville, Virginia: Nimbus Records, archived from
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423:
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142:
680:
1003:, New Dheli: Munshiram Manoharlal Publishers Pvt Ltd,
557:
Komal re of Marwa is slightly higher than komal re of
1039:, (Bhandarkar Oriental Institute, Poona MS No. 1062)
532:
1426:
1001:A Comparative Study of Selected Hindustāni Rāga-s
1945:
1073:
931:, Mumbai: Eshwar (Business Publication Inc.),
1412:
1059:
293:
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1405:
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32:
646:
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703:(1992), NI 5356 (recorded July 10, 1990)
634:In Marwa Ni and Ga are sharp, Sa is the
606:Bor characterizes Marwa as "heroic". In
994:, Calcutta: Oxford & IBH Publishing
959:
926:
663:
1946:
998:
980:
944:
625:of a fawn. She is the elder sister of
1400:
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620:(16th century) describes as follows:
985:, Allahabad: Sangeet Sadan Prakashan
679:, ODEON-MOAE 103, later reissued by
660:"may be the origin of modern Mārvā"
350:
19:For the thaat of the same name, see
397:
13:
1019:The Lost World Of Hindustani Music
721:Masterworks from the NCPA archives
417:
14:
1965:
903:
1142:
638:and amsa and Ri and Dha are the
533:Organisation & Relationships
335:as two couples kissing. It is a
1017:Mukherji, Kumar Prasad (2006),
964:, Bombay: Asia Publishing House
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497:given by Ruckert is: 'Ni 'Dha
450:, Sa. Patwardan has shown the
1:
929:Nād, Understanding Rāga Music
920:
915:More details about raga Marwa
730:
1035:Viṭṭhala, Puṇḍarika (1576),
1021:, New Dheli: Penguin India,
582:
7:
983:Ābhinava Gītānjali (2 vols)
981:Jha, Ramashraya (1968–78),
976:, Bombay: Popular Prakashan
672:, Ragas Marwa and Darbari,
326:
10:
1970:
1075:Hindustani classical music
571:as a mixture of Marwa and
117:Hindustani classical music
18:
1920:
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1622:
1561:
1435:
1331:
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990:Kaufmann, Walter (1968),
962:The Story Of Indian Music
927:Bagchee, Sandeep (1998),
726:“Friends” by Led Zeppelin
103:
82:
60:
52:
40:
31:
999:Moutal, Patrick (1991),
992:The Ragas of North India
752:Rāg Vijñān, Vol. II, p.1
677:LP (long-playing record)
1430:as per performance time
743:Gosvami(1957) p. 236 f.
601:
422:Sa is omitted within a
406:is komal Re, while the
761:Jairazbhoy(1995) p. 44
711:Connoisseur Society US
647:Historical Information
563:According to O.Thakur
1256:Semi-classical genres
945:Bor, Joep (c. 1997),
505:'Ni 'Dha 'Ni 'Dha Sa
16:Hexatonic Indian raga
960:Gosvami, O. (1957),
664:Important Recordings
28:
618:Puṇḍarika Viṭṭhala
608:ragamala paintings
333:Ragamala paintings
26:
1941:
1940:
1912:Vrindavani Sarang
1680:Puriya Dhanashree
1394:
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717:Ustad Rashid Khan
351:Aroha and Avaroha
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1954:Hindustani ragas
1836:Malkauns Pancham
1584:Madhyamad Sarang
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699:, "Raga Marwa",
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719:, "Raag Marwa"
709:, "Raag Marwa"
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598:Sunset 5:30 pm
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948:The Raga Guide
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905:
904:External links
902:
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898:
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878:Kaufmann p.315
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1892:JanaSammohini
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1786:Gorakh Kalyan
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1695:Shuddh Kalyan
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1614:Shuddh Sarang
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955:on 2009-07-15
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938:81-86982-07-8
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842:Moutal p. 257
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788:Bagchee p.318
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758:
749:
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736:
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623:
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570:
566:
565:Pūrvā Kalyāṇa
561:
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539:
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496:
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87:
85:
81:
65:
63:
59:
55:
51:
48:
45:
43:
39:
35:
30:
22:
21:Marva (thaat)
1933:Miyan Malhar
1766:Chandrakauns
1710:Yaman Kalyan
1650:Hamsa Kalyan
1588:
1478:Bhoopal Todi
1443:Ahir Bhairav
1313:NatyaSangeet
1036:
1018:
1000:
991:
982:
973:
961:
953:the original
947:
928:
892:
883:
874:
865:
856:
851:Moutal p.493
847:
838:
829:
820:
811:
802:
793:
784:
775:
766:
757:
748:
739:
687:Ravi Shankar
650:
616:
612:
605:
597:
594:Samay (Time)
589:
586:
577:
562:
556:
546:
536:
525:Sa 'Ni 'Dha
492:
421:
401:
393:
391:'Ni 'Dha Sa
375:
372:
354:
324:
316:
312:
311:
107:Malavi, Maru
27:Marva (raga)
1928:Gaud Malhar
1856:Tilak Kamod
1851:Shivranjani
1796:Jaijaivanti
1685:Sham Kalyan
1574:Gaud Sarang
1538:Nat Bhairav
1153:Instruments
824:Vol 1 p 116
815:Moutal p.77
691:In New York
345:Marva thaat
158:Instruments
99:'Ni 'Dha Sa
53:Time of day
1877:Charukeshi
1665:Maru Bihag
1645:Hansdhwani
1579:Madhuvanti
1569:Bhimpalasi
970:Jairazbhoy
921:Literature
770:Bor p. 114
731:References
723:(Aug 1984)
697:Imrat Khan
452:mukhya ang
430:gives the
428:Bhatkhande
104:Equivalent
1801:Jhinjhoti
1771:Chhayanat
1562:Afternoon
1528:Kalingada
1201:Harmonium
1134:Swaralipi
1037:Rāga-Mālā
670:Amir Khan
583:Behaviour
501:'Ni 'Dha
478:Dha, Dha
462:Dha, Dha
377:Avarohana
337:hexatonic
84:Avarohana
1948:Category
1872:Bhairavi
1846:Rageshri
1831:Malkauns
1821:Malgunji
1806:Kalavati
1731:Bageshri
1690:Shankara
1635:Bhoopali
1518:Jaunpuri
1473:Bhatiyar
1366:Bhairavi
1288:Bhatiali
1211:Pakhavaj
1082:Concepts
559:Bhairavi
254:Bhairavi
124:Concepts
1865:Anytime
1816:Kirwani
1776:Darbari
1751:Bhimsen
1623:Evening
1599:Patdeep
1594:Multani
1508:Gurjari
1503:Gunakri
1493:Deshkar
1488:Bilawal
1468:Bhankar
1463:Bhairav
1448:Asavari
1436:Morning
1361:Bhairav
1356:Asavari
1341:Bilaval
1318:Qawwali
1227:Dhrupad
1196:Tanpura
1191:Sarangi
1186:Shehnai
1181:Santoor
1176:Bansuri
1129:Gharana
1124:Bandish
569:Bhaṭiya
517:Ni Dha
434:as Dha
408:Samvadi
383:Ni Dha
366:Dha Ni
356:Arohana
339:Indian
249:Bhairav
244:Asavari
229:Bilaval
206:Qawwali
176:Dhrupad
153:Gharana
91:Ni Dha
74:Dha Ni
62:Arohana
1921:Season
1826:Malhar
1791:Hameer
1741:Basant
1700:Tilang
1675:Puriya
1670:Pahadi
1660:Khamaj
1604:Poorvi
1553:Vibhas
1523:Jogiya
1513:Hindol
1386:Kalyan
1346:Khamaj
1333:Thaats
1323:Ghazal
1308:Abhang
1303:Bhajan
1293:Sawani
1283:Chaiti
1278:Kajari
1263:Thumri
1242:Tarana
1232:Dhamar
1220:Genres
1109:Sargam
1099:Shruti
1025:
1007:
935:
713:(1968)
658:Mālavā
654:Locana
548:Puriya
495:chalan
413:Puriya
358:: 'Ni
274:Kalyan
234:Khamaj
220:Thaats
211:Ghazal
196:Thumri
191:Tarana
181:Dhamar
167:Genres
133:Shruti
56:Sunset
1907:Piloo
1882:Dhani
1811:Kedar
1781:Durga
1756:Bihag
1736:Bahar
1726:Adana
1719:Night
1705:Yaman
1655:Kamod
1609:Shree
1589:Marwa
1543:Sohni
1533:Lalit
1428:Ragas
1381:Marva
1376:Purvi
1273:Tappa
1268:Dadra
1247:Sadra
1237:Khyal
1206:Tabla
1171:Veena
1166:Sarod
1161:Sitar
1089:Swara
674:Odeon
640:nyasa
636:graha
627:Mewar
573:Maand
552:Sohni
542:Marwa
538:Thaat
442:, Ga
432:pakad
327:Mārvā
317:Marwa
313:Marva
269:Marva
264:Purvi
201:Dadra
186:Khyal
138:Swara
47:Marva
42:Thaat
1902:Mand
1897:Kafi
1887:Gara
1841:Nand
1640:Desh
1548:Todi
1498:Desi
1371:Todi
1351:Kafi
1298:Hori
1119:Laya
1114:Tala
1104:Raga
1094:That
1023:ISBN
1005:ISBN
933:ISBN
602:Rasa
550:and
513:Dha
493:The
490:Sa.
486:'Ni
446:Ga,
424:taan
404:Vadi
402:The
341:raga
321:IAST
259:Todi
239:Kafi
148:Tala
143:Raga
66:'Ni
689:, "
681:HMV
656:'s
544:).
529:Sa
521:Ga
509:Ga
503:'Ma
482:Ga
474:Ga
466:Ga
458:Ga
454:as
438:Ga
387:Ga
381:Re'
370:S'
368:Re'
362:Ga
315:or
95:Ga
89:Re'
76:Re'
70:Ga
1950::
540::
527:Re
523:Re
519:Ma
515:Ma
511:Ma
507:Re
499:Re
488:Re
484:Re
480:Ma
476:Ma
472:Re
468:Re
464:Ma
460:Ma
456:Re
448:Re
444:Ma
440:Re
436:Ma
389:Re
385:Ma
379::
364:Ma
360:Re
347:.
323::
97:Re
93:Ma
78:S'
72:Ma
68:Re
1420:e
1413:t
1406:v
1067:e
1060:t
1053:v
642:.
629:.
319:(
301:e
294:t
287:v
23:.
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