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

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As per Deepak Raja’s insightful analysis, “Purva [bears] resemblance to Puriya in terms of swara material, phraseology, melodic centre of gravity, and aural impression” – also adding that, while sitarist Vilayat Khan considered the raga indistinguishable from Puriya Kalyan, it is in fact marked out by “differential weightages given to different segments of the octave…It is difficult for two ragas of such subtle differentiation to coexist”. Attributed by Bhatkhande, based on limited textual evidence, as having derived from “a combination of Poorvi, Maru, and Gauri” (also see Puriya Dhanashree). Distinct from Purba (although mistitlings are common) – and some renditions seem to take a komal dha rather than the shuddha.

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राग पूर्व

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• Hindustani Raga Index •

—Vilayat Khan (1970s)—

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[refrain, e.g. 17:24] P(MDP) P(MP), MG, M, (M)G G, G(MG)rG, (P)MM D(N) D(PMP), G(PG), S(rS), S(NS), S(NS)N P(DN), MP, MG M, G G…

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• Classifiers •

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

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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

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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, Puriya Kalyan, Shree Kalyan, Purva, Baradi

Also compare to other members of the Kalyan raganga

–Swara Geometries–

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• 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–

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• 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)

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o o • • o • o o • o • o o

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• Tanpura: Sa–Pa (+Ni)

• Names: Purva, Purava, Purvya (not Purba)

• Transliterations: Hindi (पूर्व)

—Jitendra Abhisheki (1988)—