Over last month I have been traveling and the raag or set of notes that are lingering all these days almost all times of the day were that of Marwa and Puriya ..
Yesterday on YouTube I saw an episode "Sandhyakaleen Tadap" on the theme of Puriya, Marwa and Sohini. Also, there was news of death of Ut Rashid Khan. These dots got connected and I sat to write this blog.
Marwa depicts the masculine longing or yearning (विरह), that is different from the feminine longing, hence the exception of relationship between "Vaadi" (komal rishabh) and "Samvaadi" (Dhaivat) being Shadaja-Gandhaar instead of the rule of either Shadaja-Pancham or Shadaja-Madhyam that is observed in most raags in classical music. This also explains why Marwa sounds apt in male voice than female.
In fact ABD explains that Marwa is more like Bhoop without the touch of Shadaja. ABD explains this in a beautiful way in the following video.
For me Marwa of Ut Rashid Khan, Ut Amir Khan and Pt Vasantrao Deshpande (fondly called Vasantkhan Deshpande) is the Gold standard in Classical Music.
काहूकी रीत कोऊ करे सखी री
मीत पिहरवा वो जो कहियो
सो सो सब अपने मन की
हूं अधीन तन मन धन तुम्हरे
तुम तो मेहेरबान सबके
सदारंग पर रंग बरसायो
Here are some of my favorites.. Marwa Bandish from the film "Mi Vasantrav"
Marwa, Puriya and Sohoni all take the same notes used in different gaits, ways and proportions. Differential stresses on certain notes
Sa,Re',Ga,Ma,Dha,Ni,SA
Marwa has "alpatwa" of Sa that gives it the longing..."Virah".. the "tadap" .. komal Rishabh and Dhaivat render the masculinity. The "theharaav" around Komal Rishabh and Dhaivat is the trademark of Marwa, gives it its serious impression.
Puriya with the same set of notes set around Gandhaar-Nishaad as Vaadi-Sanvaadi and ample use of Sa gives a different kind of peaceful longing that seems hidden in the depth, like a ocean. More feminine and pleading than complaining. Raag Marwa and Puriya are like two able sons with a bright sister called Sohini with similar genetic makeup from a mother who is extremely beautiful and a brave father (Bhoop).
The quintessential Bandish of Pt Jasraj in Puriya is a pot of gold set in Jhaptaal.
अब थारे बिन कूण मोरी राखे लाज
ते थो तेज महान
जिन जिन ध्याये तिन तिन पाये
मोपे विपता बडी भारी
जस सवरत नहीं आज
Puriya of Ut Rashid Khan too has something special in it.
Ragini Sohoni, the bright sister of Marwa and Puriya takes the same notes at higher octave.... sharp taans is its trademark.
Ut Bade Ghulam Ali Khan (BGAK) of Patiala gharana was the greatest exponent of raagini Sohini.
My favorite thumri in Raagini Sohoni is by again Ut Rashid Khan ..
देखबे को मन ललचाए
One more video that explains the relationship of Marwa, Puriya and Sohoni is the one by disciple of Pt CR Vyas and Satyasheel Deshpande ... Sanjeev Chimalggi at Raagmala concert