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Pūriya

 

Ṭhāṭa : Māravā

Jāti : ṣāḍav/ṣāḍav 

Āroha / avaroha Ṇi re Ga Ma Dha Ni (re) Ṡa / re Ni Dha Ma Ga, Ma Ga re Sa

Vādī / samvādī : Ga / Ni

Prahara : sunset (sandhiprakāśa)

Pakaḍa :  Ṇi Ma Ga re Sa, Ṇi Ḍha Ṇi, Ṃa Ḍha Ṇi re Sa.

Pūriya is an important raga associated with this time of day when the sun disappears on the horizon. It has the same scale as Māravā, but a distinct calana. The movements of Pūriya are mainly in the first tetrachord (pūrvāṅga) of the mid-octave (madhya saptaka) with an emphasis on the svara Ga and Ma. Ṇi is an important note often taken as a starting and an ending point in the development of melodic lines: Ṇi Ma Ga re Sa Ṇi; Ṇi re Ga Ma Ga re Sa Ṇi; Ga Ma Dha Ga Ma Ga re Sa Ṇi. Pūriya is a serious and introspective raga that suggests a state of calm and contemplation.

Calana:

Ṇi Ḍha Ṇi, Ṃa Ḍha Ṇi re Sa, Ṇi re Ma Ga, Ga Ma Dha Ga Ma Ga re Sa Ṇi, Ṇi re Ga Ma Dha Ni Dha Ni, Ma Dha Ni Dha Ṡa | Ni ṙe Ṡa, Ni ṙe Ni Dha Ma Ga, Ga Ma Dha Ga Ma Ga, Ṇi Ma Ga re Sa.

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Rāga Pūriya, vilambita rūpaktāla - Jonathan Voyer, Uday Kulkarni
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Rāga Pūriya, madhyalaya tīntāla - Jonathan Voyer, Uday Kulkarni
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Textual references: 

  • Bor, J. et al. (2002). The Raga Guide: A Survey of 74 Hindustani Ragas. Netherlands: Nimbus, Rotterdam Conservatory of Music, p. 130

  • Rao, B. S. (1965) Raganidhi: A Comparative Study of Hindustani and Karnatak Ragas, Volume Three. Madras :The Music Academy, Madras,  pp. 229-230. 

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About 
Note on Transliteration

This site was created by Jonathan Voyer as part of a postdoctoral research-creation project carried out with the collaboration of Pandit Satish Vyas and Dr. Maneesha Kulkarni, professor at the music department of Mumbai University. This project was funded by Fonds de recherche  du Québec (FRQSC).

We opted for transliteration rather than transcription.  We use the system of the "International Alphabet for Transliteration of Sanskrit" (IAST).Thus, the term " बंदिश " is transliterated into "bandiśa" and not transcribed into "bandish". All the transliterated terms are neutral and written in italics, with the exception of names (including the name of ragas, e.g. Ahīra Bhairava). The vowel "a" attached to the final consonants is preserved for uniformity. The terms already translated in English are written as such, we will read "raga" and not "rāga".

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