|Hindustani classical music|
Marva thaat is obtained by adding a komal Rishabh to the Kalyan thaat. The mood of the Marva family of ragas is strongly and easily recognisable. The Shadja remains in the form of a shadow till the very end, where it almost comes as a surprise. Komal Rishabh and shuddha Dhaivat are very important. The overall mood of this raga is of sunset where the night approaches much faster than in northern latitudes. The onrushing darkness awakens in many observers, a feeling of anxiety and solemn expectation.
- Lalit (although it is sometimes placed in Purvi thaat)
- Bibhas (two other types of Bibhas are placed in Bhairav thaat or Purvi thaat)
- Pancham (Hindol Pancham)
- Purba (Purbya)
- Jait (Jayat) (not to be confused with Jait Kalyan
- Lalita Gauri (sometimes placed in Purvi thaat)
According to O. Thakur Pūrvā Kalyāṇa is Marwa with Pa and less emphasis on komal Re. R. Jha treats Bhaṭiya as a mixture of Marwa and Maand. There is only one Author (B. Subba Rao) mentioning a raga Māravā Gaurī, thus Moutal does not consider this an own form. Aspects of Marwa are also incorporated in Mali Gaura.
- Jairazbhoy, N.A. (1995). The Rags of North Indian Music: Their Structure & Evolution. Bombay: Popular Prakashan.
- Bor, Joep; Rao, Suvarnalata (1999). The Raga Guide: A Survey of 74 Hindustani Ragas. Nimbus Records with Rotterdam Conservatory of Music. ISBN 9780954397609.
- Moutal, Patrick (1991). A Comparative Study of Selected Hindustāni Rāga-s. New Delhi: Munshiram Manoharlal Publishers Pvt Ltd. ISBN 81-215-0526-7.