Raag Marwaमारवा
Sourced · not yet reviewed by a musician
Marwa thaat · Shadav-Shadav · Sunset
- Afternoon
- Sunset
- Early night
Swaras and phrases
Tap a lit note to hear it · Synthesized for study — not a recording
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa .Dha .Ni re Ga Ma♯ Dha Ni Sa'
Source: Artium Academy
- Artium Academy, Raag Marwa page, aroha
- 4 versions in 4 sources
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' Ni Dha Ma♯ Ga re Sa .Ni .Dha Sa .Ni re Sa
Source: Artium Academy
- Artium Academy, Raag Marwa page, avaroha
- 4 versions in 4 sources
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- Dha Ni / re Ni \ Dha; Ni / Ga re; re Ga Ma♯ Dha Ma♯ Ga re
Source: AUTRIM
- AUTRIM, Marva page, characteristic phrases
- 4 versions in 4 sources
About Marwa
Marwa stresses komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re and Dha. It can move directly but often avoids Sa. It shares its notes with Puriya and Sohini, so note emphasis and register decide its identity.
Source: AUTRIM +2
Curriculum: Pracheen Kala Kendra's vocal syllabus prescribes it at Bhushan Final (as Maarva
).
Source: PKK
- PKK, printed p.7, list of prescribed raags
How it moves
AUTRIM says rising phrases can be direct, stressing komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re and Dha and often avoiding Sa.
Source: AUTRIM
- AUTRIM, Marva page, opening description
AUTRIM says falling phrases can be direct, stressing komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re and Dha and often avoiding Sa.
Source: AUTRIM
- AUTRIM, Marva page, opening description
Learner focus
Stress komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re, but return to Sa now and then so komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re is not heard as the tonic.
Source: AUTRIM
- AUTRIM, Marva page, description
Caution
Stressing Ga and Ni can make it sound like Puriya. Lively movement centred on high Sa can make it sound like Sohini.
Source: AUTRIM
- AUTRIM, Marva page, description
Study prompts
Short exercises that restate what the cited sources say.
- Sing Dha Ni and glide up to komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re, then sing Ni and glide down to Dha.
- Sing re Ga Ma(tivra) Dha Ma(tivra) Ga re.
- After stressing komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Re, end a phrase on Sa so the tonic stays clear.
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 4 sources agree
- JatiAll 4 sources agree
- TimeAll 6 sources agree
- Aroha4 versions in 4 sources
- Avaroha4 versions in 4 sources
- Pakad4 versions in 4 sources
- Vadi3 of 4 sources agree
- SamvadiAll 3 sources agree
Sources differ
Notes where the cited sources describe the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary differently. Field-by-field versions and their sources are under How the sources vote.
- Mood. The sources state this differently. The value at the top of the page follows the source cited beside it.
- ITC Sangeet Research Academy, Samay Raga page, Marwa, ‘About this raga’
- Intense
- Divya Music, raag notes, Marwa profile, Nature of Rag
- dry and playful
Similar raags named by the sources
- Puriya: Same tone material; Ga/Ni emphasis suggests Puriya.
Source: AUTRIM
- AUTRIM, Marva page, description
- Sohini: Same tone material, but high-Sa-centered and more sprightly.
Source: AUTRIM
- AUTRIM, Marva page, description
- Malkauns: If Re is mistaken for the tonic the resulting scale can sound like Malkauns.
Source: AUTRIM
- AUTRIM, Marva page, description
Not stated in our sources yet
The sources we cite do not state: other names. RagaPedia leaves these blank rather than guess.
Film songs
Film songs where a checked source names Marwa. Each song shows whether a musician has reviewed it yet.
Archive recordings
Read the imported recording notes and view artwork in Ragapedia. Programme labels come from Raga Records and await independent musical review. Recovered audio is available in the listening collection. Complete CD audio remains pending.
RAGA-222 · CD
Zia Mohiuddin Dagar — Seattle, 1975 / 1979
Zia Mohiuddin Dagar (rudra vina)
Marwa
Alap and jor · 1975
Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
Marwa preserved in Seattle
Raga Records documents Zia Mohiuddin Dagar playing Marwa on the rudra vina at the University of Washington in Seattle on 7 March 1975. The release credits the university's Ethnomusicology Archives for the master tape.
Documented · Source: Raga-222: musician credit and MARWA track listing · Source: Raga-222 Credits: recording dates and master-tape credit
Sources for this profile
ThaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary, time, vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, arohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary, avarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary and pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary show the version the most independent publishers print; the sources page lists every version and who prints it. Other facts follow the source cited beside them. No musician has reviewed this profile yet.
- Marva: raag profileMusic in Motion: AUTRIM (NCPA and University of Amsterdam) · cited as AUTRIMRaag profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
- Raag MarwaArtium Academy · cited as Artium AcademyA private music academy's raag page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
- Marwa Raag Marva Bandish 16 Matras Allap Taan Music Notes In EnglishOnline Sangeet · cited as Online SangeetRobots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
- Marwa | SrGMDNS | Hindustani Raga Index | 365+ RagasGeorge Howlett / Raga Junglism · cited as Raga JunglismRobots checked: public /ragas/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
- Raag Marwa — Aaroh, Avaroh, Pakar & Samay | RiyazRiyaz / myriyaz.com · cited as RiyazRobots explicitly allows all crawlers (C-RIYAZ-robots.txt). Only public static glossary pages read, without account creation or the gated deep-dive feature. Public pages/home have no terms link; no open licence assumed. Factual transcriptions only. Several entries have internal inconsistencies, preserved in notes; this is a public-web vote, not a reliability endorsement. Accessed 17 October 2026.
- Hindustani Music (242), Theory Book 1, Chapter 2: Elements of RagaNational Institute of Open Schooling · cited as NIOSDefines the jati terms used to label note counts. Accessed 7 October 2026. Located by printed page; paraphrased.
- Samay Raga – The Time Theory of RagasITC Sangeet Research Academy · cited as ITC Sangeet Research AcademyPublic academy teaching page. robots.txt returned 404; no terms/automation restriction linked from the inspected home/page. Copyright retained: time facts are cited, prose paraphrased; fetched text is local evidence. This source is added only to raags for which it was not already used. Accessed 17 October 2026.
- Music and Dance Knowledge / Information: Hindustani raag profilesDivya Music · cited as Divya MusicMusic school's raag notes. No open licence: cited and paraphrased only. Accessed 7 October 2026.
- Vocal Music syllabus: Prarambhik to BhushanPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.