Raag Puriya
Raag Puriya Parichay – Raag Puriya originates from the Marwa Thaat. It incorporates komal Rishabh and teevra Madhyam. As the Pancham note is excluded, this raga is categorized as Shaadav jaati. Its vaadi (primary note) is Gandhar, and the samvaadi (secondary note) is Nishad. The raga is traditionally performed during the evening, between 4 PM and 7 PM.
- Aaroh – N R G M(t) D N S’
- Avroh – S’ N D M(t) G R S
- Pakad – G M(t) D G M(t) G, M(t) R(k) G, S, N D N-R(k) S
Raag Puriya Parichay – In Hindi
Introduction to Raga Puriya
| Aaroh-Avroh | N R G M(t) D N S’ |
Vadi, Samvadi | G(Vaadi) & Ni(Samvaadi) |
| Nyaas Swars | S, G and N |
| Jati | Shadav |
| Pakad | G M(t) D G M(t) G, M(t) R(k) G, S, N D N-R(k) S |
| Time | Evening |
| Thaat | Marwa |
Key Features of Raag Puriya
1. Historical Background
Raag Puriya is not mentioned in ancient Sanskrit texts, which is why it is also called a Yavanik Raag, like Raag Bahar.
2. Movement and Structure
The notes of Raag Puriya primarily span the Mandra (lower) and Madhya (middle) octaves. However, this does not exclude the use of notes from the Taar Saptak (upper octave). It is considered a Poorvang Pradhan Raag (dominated by the lower tetrachord).
3. Tuning of the Tanpura
Since the Pancham note is not used in this raga, the first string of the Tanpura is tuned to the Mandra Nishad. This adjustment produces a melodious and captivating sound.
4. Depth and Emotion
Raag Puriya is characterized by its seriousness. It is suitable for both slow and fast Khayal singing. Additionally, both Masitkhani and Razakhani Gats can be played in this raga.
5. Ornamentation of Notes
The raga places special importance on ornamentations like gamak, kan, and meend. These embellishments enhance its structure and emotional depth.
6. Difference Between Raag Puriya and Raag Marwa
To distinguish Raag Puriya from Raag Marwa, a meend is applied when transitioning from Dhaivat to Gandhar. Similarly, during the descent, while transitioning from Nishad to Madhyam, Dhaivat is used sparingly.
7. Sandhiprakash and Paramel Praveshak Raag
Raag Puriya is called both a Sandhiprakash Raag (performed at dusk) and a Paramel Praveshak Raag. Its unique notes act as a bridge, transitioning from the Marwa Thaat to ragas of the Kalyan Thaat.
8. Related Raagas
Raag Puriya is associated with Marwa and Sohini, sharing some similarities in their nature.
9. Main Notes (Nyas Swars)
The primary resting notes are Sa, Ga, and Ni.
Raag Puriya Bandish
SOON —–
How to Read Sargam Notes
1.Komal Swars (Flat Notes)
- Komal (Flat) Notes are represented as “(k)” or “(_)”. For example:
- Komal Ga: G(k) or G
- Komal Re: R(k) or R
- Komal Dha: D(k) or D
- Komal Ni: N(k) or N
Note: In exams, you can write them as (R, G, D, N) to indicate their komal nature.
2. Teevra Swar (Sharp Note)
- The Teevra (Sharp) note is represented as “M(t)” or “M#”. For example:
- Teevra Swar: M(t) or M#
3. Stretching Notes
- To indicate that a note should be stretched during singing, a “-“ is used.
- Example: Sa— means the note “Sa” is stretched.
4. Fast Notes (Tez Swar)
- Fast sequences, such as “RG”, indicate that the notes are played quickly or two notes are played within one beat.
5. Mandra Saptak (Lower Octave)
- Notes from the Mandra Saptak (lower octave) are represented with a dot below the note.
- Example: .N = Mandra Saptak Ni
6. Taar Saptak (Upper Octave)
- Notes from the Taar Saptak (upper octave) are represented with a line above the note or a special symbol.
- Example: S’ = Taar Saptak Sa
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