The Automated Transcription for Indian Music (AUTRIM) Project by NCPA and UvA


Puriya is a major rag which offers ample scope for an elaborate treatment in very slow as well as medium fast tempo. Although popular, Puriya is considered difficult to perform because of its close affinity to rag such as Marva (vide) and Sohini (vide), which have the same tonal material.

Tone material:S r G M D N

The ascent invariably starts with lower Ni. Ga and Ni are important notes.

Puriya has a serene and contemplative expression; the movements in this rag can be very slow and dignified and they are generally in the lowest and middle octave. The glides N /M and M \N are very characteristic for Puriya, as well as  M \G and N /M \G.

Some characteristic phrases:
N r G \N /M \G
G M D G M- G
M D N r N \DM-G

In Puriya, if either Re or Dha receives emphasis, one immediately gets the impression of Marva. Therefore strict care should be taken to highlight only Ga and Ni. In Sohini, the movements are sprightly and very much centred around the higher Sa.

Time: just after sunset (Bhatkhande [KPM IV] 1976: 449)

Further listening:
Faiyaz Khan 1411-0001
Imdad Khan HMV Chairman’s Choice ‘Imdadkhani Gharana’  vol. I
Recording by Vilayat Khan
Parrikar on Puriya

Performance by Padma Talwalkar

Composition: chhota khayal

पिया अाये मेरे मन भाये
दुख तन मन हो लगवा

वार गायी उस दिनपर सजन
पिया अाये मन भाये

The song describes how the heart of a woman is pleased at the return of her lover. She feels immensely gratified for the day she gets to meet him.

Tal: Tintal (medium tempo)

The opening phrase begins on the lower Ni, typical for this rag.
59-68, 124-127 & 146-149: N /M \G \N, characteristic of Puriya
74-76: G M D G M- G, another characteristic movement
133-138 & 158-161: D N r N \DM – yet another typical movement
187: The composition is presented, refrain begins on the 8th beat of the rhythmic cycle. Note that melodically the refrain starts with the lower Ni and the accentuated beat (sam) also coincides on this important note (see the red line between 183 and 184). The song line also embeds another typical phrase – G M D G M- G
241: The second part of the composition (antara) commences on the 10th beat. Unlike in other raga where the melody in this part of the song goes much beyond the high Sa, in rag Puriya it is contained within the limit of the high Sa
279: Melodic elaboration with the lower Ni in focus
307: The elaborations also include Ga (310-314) and Ma (321-327) which are held. Note the frequent recurrence of the movement N /M \G (328-330 & 332-338)
356-363: Note how the Ma is held, first steady and later with oscillations
391-396: Ni is held often preceded by the higher Re – D N r N – typical for Puriya

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