Marwa
A late-afternoon raga without Pa, centred on komal Re and shuddha Dha, with tivra Ma.
Reading the swaras
Sa is the reference pitch. The shuddha notes are S R G M P D N; r g d n denote komal Re, Ga, Dha and Ni. M^ denotes tivra Ma. An arrow after a note places it in the upper (↑) or lower (↓) octave. Without an arrow, the note belongs to the middle octave.
Overview
Marwa places komal Re and shuddha Dha at the centre of its six-note world. Pa is absent, and tivra Ma joins Ga to the upper part of the melody. Sa remains the reference, but a phrase can pass around it instead of settling there immediately. This makes the eventual return to Sa feel different from the continuing pull between Re and Dha. The raga belongs to the closing part of the afternoon, approaching sunset.
Notes and identity
| Field | Details |
|---|---|
| Thaat | Marwa |
| Jati | Shadav–Shadav (six notes in each direction) |
| Swaras used | S r G M^ D N; Re is komal, Ma is tivra, Pa is omitted. Ga, Dha and Ni are shuddha. |
| Vadi | Re (r) |
| Samvadi | Dha (D) |
| Aroha | S r G M^ D, N D S↑ |
| Avaroha | S↑ N D M^ G r S |
| Time | Late afternoon towards sunset, last prahar of the day |
| Rasa / bhava | Intense, inward-looking |
Grammar & signature
Re and Dha are strong resting points, not just notes on the way to Sa. The movement r G M^ D leads towards Dha; D M^ G r answers it by returning to Re. In the lower octave, N↓ D↓ r S brings the phrase home. Keep Pa out, and let the direction of each phrase decide when Sa arrives. Ni can take part in a turn back towards Dha before the upper Sa is reached.
Pakad / chalan (illustrative)
N↓ r G M^ DD M^ G rN↓ D↓ r S
Listen for the exchange between Re and Dha, with Sa delayed until the close.
Phrase examples
- Lower approach:
S N↓ D↓ S N↓ r. - Middle movement:
r G M^ D, D M^ G r. - Upper turn:
M^ D N D S↑. - Descending:
S↑ N D M^ G r S. - Do not add Pa between Ma and Dha. Keep the sustained Re komal and Dha shuddha.
Allied ragas & differentiation
- Puriya uses the same six notes, but its phrases draw more strongly towards Ga and Ni. Marwa’s Re–Dha balance and its more direct note placement give it a different shape.
- Purvi includes Pa, uses komal Dha and adds shuddha Ma in descending turns. Marwa omits Pa and keeps Dha shuddha and Ma tivra.
Related music
Explore Khayal, Vadi, Samvadi and Jati.