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


In the music related text this rag is referred with various names such as Purvi, Purbi, Purabi and Paurabi (Thakur [Sangianjali VI] 1962: 54). At present, rag Purvi is not heard very often on the concert platform.

Tone material: S r G m M P d N

The ascent begins with lower Ni and avoids Pa, but Pa can occur as a terminating note in ascending movements such as  N r G M P.  The descent includes the characteristic movement of Purvi- P – M G m rG -.  In this phrase the flat Re is often  (but not necessarily!) made very short and delicate as a touch before the Ga  The concluding phrase is always M G r S. Ga and Ni are important notes while Ga is also a resting note.

Some characteristic phrases:
N r G m G
G m r Gm G
r G M P – M G m rG

The phrase P M G m G occurs in rag-s Purvi, Paraj and Bihag (vide) but the intonation of this phrase is distinct in each of these rag-s.
Although Purvi, Basant (vide) and Lalita guari (vide) have the same tonal material, the treatment of both forms of Ma in these rag-s is quite different. Lalita gauri uses both forms of Ma as in rag Lalit (vide) – G m M m, M m G. Rag Puriya dhanashri (vide) shares some similarity with Purvi. However absence of natural Ma and the inclusion of a typical phrase – M G M r G in Puriya dhanashri, helps keep it distinct from Purvi.

Time: sunset (ibid)

Further listening:
Recording by Mogubai Kurdikar
Recording by Faiyaz Khan
Recording by Enayet Khan

Performance by Aslam Khan


ये सपना मैं कैसे कहू
येरी सखी री
पी मोरे सपनेमें अाये

सूनी सेज सावरी मोरी
अौर मोहे गरवा लगाये

Oh my friend, how do I describe my dream in which I saw my beloved embracing me?

Tal: Ektal (slow tempo)

4-15: Performance opens with phrases emphasising Ga. Note a touch of Re for Ga, which is clearly heard
18-22: Pa included in an ascending phrase as a ending note
25-27 & 56-58: P -M G m G -the characteristic phrase of this rag
72-160: First part of the composition (sthayi). Note the ornamented (murki) beginning of refrain and the accentuated beat (sam) of the 12-beat rhythmic cycle coinciding with Ga. The refrain includes the typical movement – P -M G m G –
164-302: Elaborations using words of the composition
305-359: Playing with the tempo, also using the words of the composition (layakari)
363-436: Elaborations using solfeggio (sargam)
494: Use of shake (gamak)
505: Again playing with the tempo
537-580: Fast melodic runs (tan-s). Note also the use of shake
598: Second part of the composition (antara)


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