Māravā
Ṭhāṭa : Māravā
Jāti : ṣāḍav / ṣāḍav
Āroha / avaroha : Sa re Ga Ma Da Ni Dha Ṡa / ṙe Ni Dha Ma Ga re Sa
Vādī / Samvādī : re / Dha
Prahara : sunset (sandhiprakāśa).
Pakaḍa : Dha Ma Ga re, Ga Ma Dha (Abhinava Gītanjali)
Māravā is one of the most important ragas of Hindustani music. He gave his name to one of the ten ṭhāṭa of Bhātkhaṇde. This raga has the same scale as Pūriya (and Sohini which is not documented here) but distinct melodic features. Māravā offers very little freedom for melodic development. Its architecture rests on two svara : re and Dha. The musician must take care to take one or the other of these two svara as a resting note; a pause on Ga or Ni could evoke Pūriya. One of the peculiarities of Māravā concerns the tonic Ṡa, which is constantly avoided. This generates a form of expectation that gives this raga a disturbing, even frightening character. Māravā is a complex raga that reveals its personality only in the hands of a master.
Calana :
Ḍha Ṇi re Ga re, re Ga Ma Dha, Ma Ga re, Ga Ma Dha Ni ṙe, ṙe Ni Dha, Dha Ma Ga re, Ga Ma Dha Ma Ga re Sa.
Mālava
Artiste: inconu
Date: 1610 A.D.
Klaus Ebeling's Rāgamālā collection
Cornell University Library's Digital Collections
Textual references:
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Bor, J. et al. (2002). The Raga Guide: A Survey of 74 Hindustani Ragas. Netherlands: Nimbus, Rotterdam Conservatory of Music, p. 114.
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Jha R. (2018). Abhinava Gītanjali, vol 5, pp. 102-103.
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Kaufmann, W. (1968). The Rāgas of North India. Bloomington, London: International Affairs Center by Indiana University Press, pp. 315-318.
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Rao, B. S. (1968) Raganidhi: A Comparative Study of Hindustani and Karnatak Ragas, Volume Three. Madras: The Music Academy, Madras, pp. 140-141.