Raag Purviपूर्वी
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Purvi thaat · Sampurna-Sampurna · 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 re Ga Ma♯ Pa dha Ni Sa'
Source: Artium Academy +1
- Artium Academy, Raag Poorvi page, aroha
- Riyaz, Public glossary / Aaroh
- 2 of 5 sources agree
- 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 Pa Ma♯ Ga Ma Ga re Sa
Source: Artium Academy +1
- Artium Academy, Raag Poorvi page, avaroha
- Raagist, Avrohi
- 2 of 5 sources agree
- 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
- Ni re Ga Ma Ga; Ga Ma re Ga Ma Ga; re Ga Ma♯ Pa Ma♯ Ga Ma re Ga
Source: AUTRIM
- AUTRIM, Purvi page, characteristic phrases
- 4 versions in 4 sources
About Purvi
Purvi often starts rising phrases on lower Ni and avoids Pa except at the end of a rising phrase. The descent uses both forms of Ma and a light touch of 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 before Ga. Ga and Ni are important.
Also called Purbi, Purabi, Paurabi.
Source: AUTRIM
- AUTRIM, Purvi page, opening description
Curriculum: Pracheen Kala Kendra's vocal syllabus prescribes it at Bhushan Final (as Poorvi
).
Source: PKK
- PKK, printed p.7, list of prescribed raags
How it moves
AUTRIM says the ascent begins on lower Ni and avoids Pa except at the end of a phrase: .Ni re Ga Ma(tivra) Pa.
Source: AUTRIM
- AUTRIM, Purvi page, opening description
AUTRIM gives the descending movement Pa Ma(tivra) Ga Ma re Ga, with the closing phrase Ma(tivra) Ga re Sa.
Source: AUTRIM
- AUTRIM, Purvi page, opening description
Learner focus
Hear the light 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 touch before Ga, and the closing phrase Ma(tivra) Ga re Sa.
Source: AUTRIM
- AUTRIM, Purvi page, opening description
Caution
Basant and Lalita Gauri share Purvi's notes but treat Ma differently. Puriya Dhanashri leaves out shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ma.
Source: AUTRIM
- AUTRIM, Purvi page, description
Study prompts
Short exercises that restate what the cited sources say.
- Sing .Ni re Ga Ma(tivra) Pa and end on Pa.
- Sing the closing phrase Ma(tivra) Ga re Sa.
- Sing Ga Ma re Ga Ma Ga and keep the 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 short.
Based on: Artium Academy +4
- Artium Academy, Raag Poorvi page, aroha
- Riyaz, Public glossary / Aaroh
- Artium Academy, Raag Poorvi page, avaroha
- Raagist, Avrohi
- AUTRIM, Purvi page, characteristic phrases
Variants
- The 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 touch before Ga is often, but not necessarily, short and delicate.
Source: AUTRIM
- AUTRIM, Purvi page, opening description
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 4 sources agree
- Jati3 of 4 sources agree
- Time5 of 6 sources agree
- Aroha2 of 5 sources agree
- Avaroha2 of 5 sources agree
- Pakad4 versions in 4 sources
- VadiAll 5 sources agree
- SamvadiAll 4 sources agree
Similar raags named by the sources
- Paraj: Shares Pa Ma(tivra) Ga Ma Ga, with different intonation.
Source: AUTRIM
- AUTRIM, Purvi page, description
- Bihag: Shares Pa Ma(tivra) Ga Ma Ga, with different intonation.
Source: AUTRIM
- AUTRIM, Purvi page, description
- Basant: Same tone material, different treatment of the two Ma forms.
Source: AUTRIM
- AUTRIM, Purvi page, description
- Lalita Gauri: Same tone material, different treatment of Ma.
Source: AUTRIM
- AUTRIM, Purvi page, description
- Puriya Dhanashri: Similar, but lacks natural Ma and has Ma(tivra) Ga Ma(tivra) re Ga.
Source: AUTRIM
- AUTRIM, Purvi page, description
Film songs
Film songs where a checked source names Purvi. Each song shows whether a musician has reviewed it yet.
Archive recordings
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Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
A dream told to a friend
In Aslam Khan's Purvi performance on AUTRIM, the song's speaker turns to a friend to describe a dream. The lyric notes say the beloved appeared in the dream and embraced the speaker.
Documented · Source: Aslam Khan performance: dream lyric explanation
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.
- Purvi: 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 PoorviArtium 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.
- Raagist -Raag PoorviRaagist · cited as RaagistPublic page read without login. robots.txt returned HTTP 404 (no rules file); no terms link found on the public raag/index pages. No open licence assumed. Only factual field transcriptions and cited paraphrases are intended for use; saved page/HTML is local audit evidence. Accessed 17 October 2026.
- Description of Raag Purvi 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.
- Raag Purvi — 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.
- Poorvi | SrGmMPdNS | 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.
- 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.