Raga Puriya or Pooriya
Raga Puriya is often referred to as king of night ragas. Its set of Notes are exactly like raga Marwa. However, in this raga, Gandhar and Nishad are Vadi and Samvadi respectively and are also Nyas Swars. G M D N ; N M G ; G M D ; G M G these are the raga Vachak notes of Puriya. In this raga, N-M and D-G Sangati is observed. Nishad is often skipped in Aaroh like G M D N D S'.
Raga Puriya is what we call a Shadav (hexatonic) scale. Like Indian Classical music has evolved over the ages, many ragas have also gone through evolution. Sometimes, an extra note performed by a great artist, as an aesthetic embellishment, has come to stay as part of the raga. Sometimes, the notes of a raga have been changed, either to differentiate it or to give it a different structure.
Puriya is one such raga. In the modern era, the Puriya scale is taken to be Sa re Ga Ma Dha Ni. There are some early versions of Puriya where dha is used instead of Dha, which is arguably more appropriate in terms of Lakshanas. But let us stick to today’s scale.
So, Puriya is a Shadava Pancham Varjit raga, in other words, a hexatonic raga without the fifth. The Amsa (dominant) notes are Ni, Ga and Ma, while re and Dha are Alpatva (used rarely).
Ni has a Samvad (consonance) with Ga and Ma, re has no Samvad (and hence used as Alpatva), and Ga and Dha are related. But as a Lakshya (aesthetic choice), Dha is also used as Alpatva. The Nyasa notes (resolving notes for phrases) are on Ni and Ma. For more details on the technical terms used above and the grammar of Indian Classical music in general, please read my post on the grammar of Indian Classical music.
A pleasant sobering atmosphere full of piety is created. This is a Poorvang Pradhan raga and can be expanded in Mandra and Madhya Saptaks.