SRGPDS
SDPGRS
vadi Dha samvadi Ga
Marwa thaat · komal Re, tivra Ma
Ragas of Marwa मारवा
· 4 ragas
Four ragas of Marwa thaat, with komal Re and tivra Ma: Puriya, Marwa, Sohini and Bibhas, each written as aroha and avaroha to play.
Marwa thaat lowers Re and raises Ma and keeps the rest shuddha, Pa included. This page holds four of its ragas, Bibhas in its Marwa form, Sohini, Puriya and Marwa, each written as its aroha and avaroha, the ascent and descent, with a button that plays it. Three of the four leave out Pa. Puriya and Marwa print identical lines without it, both starting on the lower Ni, and differ only in where they rest, Puriya on Ga and Ni, Marwa on komal Re and Dha. Read the rings before singing, especially if the previous raga is still in your head.
Puriya vadi Ga samvadi Ni
Marwa vadi komal Re samvadi Dha
Sohini has the same notes as Puriya and Marwa, again without Pa. Its ascent starts on Sa and leaves out Re too, so komal Re appears only coming down, and it rests on Dha and Ga. Sohini and Marwa are both named in year four, but Marwa is the steepest here, so begin with Sohini.
Bibhas, the gentlest, keeps Pa and leaves out Ma and Ni in both directions, so the raised Ma that marks the thaat never appears in its lines. It rests on Dha and Ga, like Sohini. Start with it to practise komal Re while Pa is still there, then return to Sohini.
MarwaSRGMPDN
Bibhas (Marwa ang)SRGsamvadiPDvadi
SohiniSRGsamvadiMDvadiN
The twelve notes of an octave, drawn with Sa on a white key.
Give Sohini's descent its own attempt. The ascent has not placed komal Re for you, so find it on the harmonium, sing it, then sing the written descent from the top without the keyboard. In Puriya, check the lower starting Ni separately, and keep your hand off Pa on the first unaccompanied pass, where it could offer the voice a note the page has excluded.
Start with Bibhas (Marwa ang), Sohini and Puriya.
The ragas of this shelf, the gentlest first4
SRGPDS
SDPGRS
vadi Dha samvadi Ga
Under a Marwa heading, the hand may go looking for tivra Ma. This Bibhas uses no Ma or Ni either way, keeping komal Re and shuddha Dha, with Dha as vadi and Ga as samvadi. Sohini has the same vadi and samvadi but includes tivra Ma and Ni and omits Pa. Stop Bibhas's ascent on Ga and find Pa first. Next pass, drop the stop and listen for a Ma in the throat, even with its key untouched.
SGMDNS
SNDMGRS
vadi Dha samvadi Ga
Finish the descent only after komal Re has had its turn. Sohini omits Re and Pa ascending and Pa descending, while Puriya and Marwa, with the same notes, have komal Re both ways. Dha is vadi, Ga samvadi. Rehearse the lower descent from tivra Ma, giving komal Re a full count before Sa. Then attach the upper part and check that the longer run has not made the voice skip that last Re.
Open in the harmonium First taught in year 4 of a graded syllabus.
NRGMDNS
SNDMGRS
vadi Ga samvadi Ni
Puriya and Marwa let the hand reuse exactly the same two lines. Economical for the fingers. Puriya names Ga as vadi and Ni as samvadi, where Marwa names komal Re and Dha; both start below Sa on Ni and omit Pa throughout. On a first pass, give the ascending Ga two quiet counts and check Ni separately higher up. Then repeat at an even pace, keeping both pitches clear without loud accents.
Open in the harmonium First taught in year 6 of a graded syllabus.
NRGMDNS
SNDMGRS
vadi komal Re samvadi Dha
Komal Re comes early enough to be hurried past. Marwa starts from the lower Ni, passes over middle Sa to that Re, and omits Pa both ways. Puriya has identical lines but names Ga and Ni as vadi and samvadi; Marwa names komal Re and Dha. Give the opening Re an extra count with the keys silent and check it, then do the same at Dha. Drop the pauses once neither landing needs the hand to find the pitch.
Open in the harmonium First taught in year 4 of a graded syllabus.