S-r-G-M-P-D-N-S

---

Essentially combining the poorvang of Puriya Dhanashree with the uttarang of Yaman (SrGM+PDNS), Puriya Kalyan matches the swaras of Marwa thaat. Pa is prominent in descent, but may be skipped in Kalyanic ascending passages such as MDNS – and Sa is often omitted in both directions, with mandra saptak Ni favoured as a melodic starting point. Tanarang gives illustrative combinations of NrG, GMMG, MDNDP; GMDNSN, DNrSNDP; MrG, rS, while Dhyanesh Khan describes it as bringing “a sublime mood of devotion and peace”. Raja highlights its proximity with Purva, recounting that, “At a concert in L.A. in 1991, Vilayat Khan [argued] that Purva is the same as Puriya Kalyan…[However] Bhatkhande looked at this issue in the 1940s, when Purva was a mature raga and Puriya Kalyan had just begun to gain acceptance, and concluded that they are different: he connected Puriya Kalyan with the [Carnatic] Gamanashrama parent scale, and Purva he attributes to a combination of Poorvi, Maru, and Gauri”. Modern renditions may span the spectrum of ‘Puriya add Pa’ to ‘Yaman komal re’ (see melodic considerations).

---

• Raga Masterlist (1000+) •

राग पूरिया कल्याण

Search | Glossary | Tags

• Hindustani Raga Index •

Aroha: NrGMDNrS

Avroh: rNDPMG, rMG; MGrS

---

Pakad: e.g. rMG; GMNDP; MGrS

Chalan: e.g. NDNrMGrS; rGMD(G)MG; GMDNDP; M(N)DNrS; NrGrS; rNDP; MDNDPMG; rGMD(G)MG; rMG; MGrS (Bor/Chaurasia)

• The swara-set can be interpreted as ‘Puriya’s poorvang + Yaman’s uttarang’ (SrGM; PDNS) – although renditions span the space from ‘Puriya plus Pa’ to ‘Yaman komal re’

• Puriya elements tend to dominate due to the presence of komal re, although both parent ragas already share significant overlap – including a strong Ga-Ni axis and the omission of Sa and Pa in ascent (e.g. Puriya’s NDNrG; GMDND MG vs. Yaman’s NDNRG; GMDND MDP)

• Several devices exist to distinguish the two ‘faces’ of the raga – e.g. the endpoint of aroha launches (Puriya-ang NrG vs. Yaman-ang NrGMP), the focus of melodic activity (Yaman emerges in the GMPDN space), and the relative weighting of komal re vs. Pa (e.g. Puriya-ang NrGM; rGMDGMG; MDNrND vs. Yaman-ang GMDNDP; SNDPMG)

• Lies very close to Purva – Vilayat Khan considered the ragas to be one and the same, although other scholars hold that Purva is closer to ‘Puriya add Pa’, with less Kalyan-ang influence

• Associated, like both parent ragas, with the post-sunset hours (‘sandhiprakash’) – and generally interpreted in a restrained, contemplative manner

—Kaushiki Chakraborty (2019)—

---

[refrain, e.g. 0:27] (M)P M(PG) GM, G (Gr)N NrGMG\r S, (M)P M(PG) GM…

---

• Experiments •

Novel interpretations of the raga’s essence…

---

—Stuart Hinds (overtonal vocals)—

---

“Puriya Kalyan (‘Peaceful and Pensive at Sunset’)…The idea for the ‘Color of the Melody’ project is to use raga principles for polyphonic overtone singing. I sing two contrapuntal lines – fundamentals and overtones – creating a texture that is harmonic as well as melodic. These are not raga performances per se, but are true to the essential features of traditional raag: thaat, aroha–avroh, vadi–samvadi, pakad, rasa, and time of day…” (Stuart Hinds)

---

• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

---

Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

---

Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Marwa thaat, Shree Kalyan, Purva, Baradi

Also compare to other members of the Kalyan raganga

–Proximate Forms–

Marwa = ‘Puriya Kalyan no Pa‘

Shree = ‘Puriya Kalyan komal dha‘

Yaman = ‘Puriya Kalyan shuddha Re‘

Rampriya = ‘Puriya Kalyan komal ni‘

Hansa Narayani = ‘Puriya Kalyan no Dha‘

Bhatiyari Bhairav = ‘Puriya Kalyan shuddha ma‘

(n.b. these are just ‘scalar similarities’, with nothing particular implied about phraseological overlap)

–Swara Geometries–

---

• Core form: S–r–G–M–P–D–N–S

• Reverse: SrgmMdNS

• Complement: SRgmdnS

• Imperfect: 2 (re, Pa)

• Detached: none

• Symmetries: none

• Murchanas: Deepavali (on Pa)

–Global Translations–

---

• Carnatic: ~Purvikalyani

S-R₁-G₃-M₂-P-D₂-N₃-S

• Jazz: Lydian b2

1-b2-3-#4-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-1-4-6-7-9-11-0

(1–3–2–1–2–2–1)

---

o o • • o • o o • o • o o

---

• Tanpura: Sa–Pa (+Ni)

• Names: Puriya Kalyan, Puria Kalyan, Pooriya Kalyana [n.b. as discussed above, Vilayat Khan considered Puriya Kalyan and Purva to be identical – but most scholars hold them to be separate forms]

• Transliterations: Hindi (पूरिया कल्याण); Bengali (পুরিয়া কল্যাণ)

—Shivkumar Sharma (2015)—