Puriya
पूरिया
.N r G M# D N S' | S' N D M#, G M# D, G M# G r S
Origins & Context
Raag Puriya is a Marwa thaat raga of Hindustani music, performed just after sunset, that uses komal Re, tivra Ma and the other notes shuddha, and leaves out Pa. Komal means lowered, tivra raised, shuddha natural, and a thaat is a parent scale. It is also written Puria or Pooriya.
In this notation, lowercase r is komal Re and M# is tivra Ma. A leading dot marks the lower octave and an apostrophe the upper. One teaching outline gives the aroha, or ascent, as .N r G M# D N S'. Its avaroha, or descent, is S' N D M#, G M# D, G M# G r S. The vadi, the most prominent note, is Ga. Its partner, the samvadi, is Ni, and both are resting notes.
Puriya shares its notes with Marwa and Sohini. The AUTRIM project of the National Centre for the Performing Arts and the University of Amsterdam warns that stressing Re or Dha at once suggests Marwa, so Ga and Ni lead in Puriya.
KalaSudha presents Hindustani musicians in concert and releases their recordings. Its academy teaches ragas online and in local workshops, and each course is built by its instructor with KalaSudha.
Technical Details
Melodic structure and movement patterns
Aroha (Ascent)
.N r G M# D N S'
Avroh (Descent)
S' N D M#, G M# D, G M# G r S
Pakad (Catch Phrase)
G M# D G M# G, N M# G, G M# G r S, .N .M# .D S, .N r G r S
Tanpura Tuning
N - S - S - .S
Additional Notes
Phraseologies
Key for these phrases: lowercase r is komal Re, M# is tivra Ma, a leading dot marks the lower octave and an apostrophe the upper.
One teaching outline gives the signature turns G M# D N, N M# G, G M# D and G M# D G M# G, and links Ni with Ma and Dha with Ga. It calls Puriya a raga of the lower half, developed in the lower and middle octaves. The AUTRIM project hears the ascent start on the lower Ni and the glides between Ni and Ma as very characteristic.
Common Phrases
Around the World
Global connections and equivalent scales
With Sa on C, Puriya uses C, D flat, E, F sharp, A and B, with no G. George Howlett gives the Lydian mode with a flat second and no fifth as its jazz translation, and Carnatic Hamsanandi as an approximate counterpart.