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| image_name =
| image_name =
| image_alt =
| image_alt =
| thaat = [[Poorvi (thaat)|Poorvi]]
| thaat = [[Poorvi (thaat)|Purvi]]
| type =
| type =
| time =
| time = After sunset
| season =
| season =
| arohana =
| arohana = {{svaraH|'N|r|G|M|d|N|S'}} or {{svaraH|'N|r|G|M|d|N|r|S'}}
| avarohana =
| avarohana = {{svaraH|S'|N|d|P|M|G|r|S}}
| vadi =
| vadi = {{svaraH|P}}
| samavadi =
| samavadi = {{svaraH|r}}
| pakad =
| pakad =
| chalan =
| chalan =
| synonym =
| synonym =
| equivalent =
| equivalent = double harmonic #4 scale
| similar =
| similar = [[Bhairav (raga)|Bhairav]]
}}
}}
{{Hindustani Classical Music}}


'''Puriya Dhanashree''' is a [[rāga]] in [[Hindustani classical music]]. It belongs to the [[Poorvi (thaat)|Poorvi]] [[Thaat]] and has been derived from the Janak raga.
'''Puriya Dhanashree''' is a [[raga]] in [[Hindustani classical music]]. It belongs to the [[Poorvi (thaat)|Purvi]] [[thaat]] and has been derived from the defining raga of that thaat – [[Purvi|Raga Purvi]].


The notes of Puriya Danashree correspond, in Western terms, to the [[double harmonic scale]] with an augmented fourth.
==Raga Puriya Dhanashree==


==Structure==
Raga Purvi, the "type-raga" of [[Poorvi (thaat)|Purvi Thaat]] contains all [[swara|seven notes]] (i.e. Shadaj, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad). But the rishabh and the dhaivat are komal both in ascent and descent and the madhyam varies from teevra to shuddh whereas the gandhar and the nishaad stay shuddh throughout.

Raga Purvi, the "type-raga" of the [[Poorvi (thaat)|Purvi]] thaat contains all [[swara|seven notes]] (i.e. Shadaj, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad). But the rishabh and the dhaivat are komal both in ascent and descent and the madhyam varies from teevra to shuddh whereas the gandhar and the nishaad stay shuddh throughout.


In Puriya Dhanashree, however, the aarohan or the ascent is as follows - -N r G M d N S+. This shows that pancham is not used very often in the aarohan thereby making it a shaadav aarohan or an aarohan with six notes. Rishabh and Dhaivat are komal or flat in Raag Puriya Dhanashree wheres the Madhyam is teevra or sharp. The descent or the [[avarohan]] is as follows: S+ N d P M G M r G r S, the descent bears all seven notes with komal Dhaivat and Shadaj and a teevra Madhyam. The vadi of this raga is pancham and the samavadi is rishabh. Raag Purvi's structure is very close to that of raga Puriya Dhanashree therefore in order to differentiate between the two shuddha madhyam is often used in raga purvi unlike the teevra madhayam used in raga Puriya Dhanashree.
In Puriya Dhanashree, however, the aarohan or the ascent is as follows - -N r G M d N S+. This shows that pancham is not used very often in the aarohan thereby making it a shaadav aarohan or an aarohan with six notes. Rishabh and Dhaivat are komal or flat in Raag Puriya Dhanashree wheres the Madhyam is teevra or sharp. The descent or the [[avarohan]] is as follows: S+ N d P M G M r G r S, the descent bears all seven notes with komal Dhaivat and Shadaj and a teevra Madhyam. The vadi of this raga is pancham and the samavadi is rishabh. Raag Purvi's structure is very close to that of raga Puriya Dhanashree therefore in order to differentiate between the two shuddha madhyam is often used in raga purvi unlike the teevra madhayam used in raga Puriya Dhanashree.
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==Raga-Rasa Theory==
==Raga-Rasa Theory==


Each [[sruti]] or micro tonal interval has a definite character; the names manda, candovati, dayavati, ranjani, raudri, krodha, ugra or khsobhini denote their emotional quality which dwells in combination or singly in the notes of the modal scale: thus, dayavati, ranjani and ratika dwell in the gandhara and each of the notes ( [[swara]] ) of the scale in its turn has its own kind of expression and distinct psychological or physical effect and can be related to a colour, a mood ( rasa or bhava ), a metre, a deity or one of the subtle centres ( chakra ) of the body. ...Thus for the sringara (amorous or erotic) and the hasya (laughter) rasa, the madhyama and the pancham are used; for the vira (heroic), raudra (wrathful) and the adbhuta (wondrous), the shadja and the rishabha ; for the bibhatsa (repulsive) and the bhayanaka (fearsome), the dhaivata ; and for the karuna (compassionate), the nisada and the gandhara are used. Every swara stands for a certain definite emotion or mood and has been classified according to its relative importance, and it forms a different part of the `person' of the modal scale.
Each [[sruti]] or micro tonal interval has a definite character; the names manda, candovati, dayavati, ranjani, raudri, krodha, ugra or khsobhini denote their emotional quality which dwells in combination or singly in the notes of the modal scale: thus, dayavati, ranjani and ratika dwell in the gandhara and each of the notes ( [[swara]] ) of the scale in its turn has its own kind of expression and distinct psychological or physical effect and can be related to a colour, a mood ( rasa or bhava ), a metre, a deity or one of the subtle centres ( chakra ) of the body. ...Thus for the sringara (amorous or erotic) and the hasya (laughter) rasa, the madhyama and the pancham are used; for the vira (heroic), raudra (wrathful) and the adbhuta (wondrous), the shadja and the rishabha; for the bibhatsa (repulsive) and the bhayanaka (fearsome), the dhaivata; and for the karuna (compassionate), the nisada and the gandhara are used. Every swara stands for a certain definite emotion or mood and has been classified according to its relative importance, and it forms a different part of the `person' of the modal scale.

==Recordings==

*Pt. [[Ravi Shankar]], on ''[[India's Master Musician]]'', [[World Pacific Records]], 1959 (as ''Raga Puriya Dhanashri'')
*Pt. [[Bhimsen Joshi]], on ''Raga Miyan Ki Todi/Raga Puriya Dhanashri'', [[His Master's Voice]], 1963 (as ''Raga Puriya Dhanashri'')
*Pt. [[Pran Nath (musician)|Pran Nath]], on ''Palace Theatre, Paris 1972, Volume II'', Sri Moonshine Music, 2017 (as ''Raag Puriyaa Dhanaashree'')


== Film Songs ==
== Film Songs ==

===Language: [[Tamil language|Tamil]]===
=== Language: [[Tamil language|Tamil]] ===
Note that songs are composed in the Carnatic ragam [[Kamavardhani|Pantuvarāḷi]], which Puriya Dhanashree sounds similar to.
{| class="wikitable"
{| class="wikitable"
!Song
!Song
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!Singer
!Singer
|-
|-
|Amba Manamkanindhu
|Yezhu Swarangalukul
|[[Sivakavi]]
|[[Papanasam Sivan]]
|[[M. K. Thyagaraja Bhagavathar]]
|-
|Yezhu Swarangalukul(Ragamalika with Sindhubairavi, khamboji)
|[[Apoorva Raagangal]]
|[[Apoorva Raagangal]]
|[[M. S. Viswanathan]]
|rowspan=2|[[M. S. Viswanathan]]
|[[Vani Jairam]]
|rowspan=3|[[Vani Jairam]]
|-
|Neerada Neram
|[[Vaira Nenjam]]
|-
|Arpudha Kalaidhan
|Idhaya Nayagan
|rowspan="3"|[[Deva (composer)|Deva]]
|-
|Intha Nimisham
|''[[Hello (1999 film)|Hello]]''
|[[Hariharan (singer)|Hariharan]], [[K. S. Chithra]]
|-
|Thenthoovum Vasandham
|[[Vaidehi Kalyanam]]
|[[Mano (singer)|Mano]], [[K. S. Chithra]]
|-
|Karmegam Oorgolam Pogum
|Kalamellam Un Madiyil
|[[Chandrabose (composer)|Chandrabose]]
|rowspan=3|[[S. P. Balasubrahmanyam]], [[S. Janaki]]
|-
|Devi Devi
|[[Naan Adimai Illai]]
|Vijay Anand
|-
|-
|Rojavai Thaalattum
|Rojavai Thaalattum
|[[Ninaivellam Nithya]]
|[[Ninaivellam Nithya]]
|rowspan="9"|[[Illayaraja]]
|rowspan="9"|[[Illayaraja]]
|[[S. P. Balasubrahmanyam]], [[S. Janaki]]
|-
|-
|Kaadhal Ennum Kaaviyam
|Kaadhal Ennum Kaaviyam
|[[Vatathukkul Chadhuram]]
|[[Vattathukkul Chaduram]]
|[[Jikki]]
|[[Jikki]]
|-
|Oru Moonu Mudichaaley
|[[Amman Kovil Kizhakale]]
|[[Malaysia Vasudevan]]
|-
|Enge Nimmathi
|[[Nadigan]]
|[[S. P. Balasubrahmanyam]]
|-
|-
|Piraye Piraye
|Piraye Piraye
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|Yenna Varam Vendum
|Yenna Varam Vendum
|[[Nandhavana Theru]]
|[[Nandhavana Theru]]
|[[Mano (singer)|Mano]],Lekha, Sindhu Devi
|[[Mano (singer)|Mano]], Lekha, Sindhu Devi
|-
|-
|Sree Ramavaarai
|Sree Ramavaarai
|[[Sri Rama Rajyam]]
|[[Sri Rama Rajyam]]
|[[Chinmayi]],Sakyath
|[[Chinmayi]], Sakyath
|-
|-
|Aadum Pambirukuthu(Ragam Panthuvarali touches)
|Poiyindri Meiyyodu
|[[Saranam Ayyappa]]
|[[Illam (film)|Illam]]
|[[P. Jayachandran]]
|[[Chandrabose (composer)|Chandrabose]]
|-
|[[K. J. Yesudas]]
|Enna Nadakkudhu Saami
|[[Maamanithan (film)|Maamanithan]]
|Muthu Sirpy
|-
|Nalam Paaduven
|Kanmaniye Pesu
|[[Raveendran]]
|[[S. Janaki]]
|-
|-
|Hai Rama
|Hai Rama
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|[[Unni Menon]]
|[[Unni Menon]]
|-
|-
|Oh Nenjame
|Intha Nimisham
|Paasakanal
|[[Hello (1999 film)]]
|rowspan="2"|[[Deva (composer)|Deva]]
|rowspan=2|[[S. A. Rajkumar]]
|[[K. J. Yesudas]], Sunandha
|[[Hariharan (singer)|Hariharan]], [[K.S. Chitra]]
|-
|Thenthoovum Vasandham
|[[Vaidehi Kalyanam]]
|[[Mano (singer)|Mano]], [[K.S. Chitra]]
|-
|-
|Adi kadhal Enpathu
|Adi kadhal Enpathu
|[[Ennavale]]
|[[Ennavale]]
|[[S. A. Rajkumar]]
|[[Hariharan (singer)|Hariharan]]
|[[Hariharan (singer)|Hariharan]]
|-
|-
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|[[Dhinamdhorum]]
|[[Dhinamdhorum]]
|Oviyan
|Oviyan
|[[S. P. Balasubrahmanyam]],Shenoy Balesh
|[[S. P. Balasubrahmanyam]], Shenoy Balesh
|-
|-
|Or Aayiram Yaanai
|Or Aayiram Yaanai
Line 126: Line 160:
|Amma Endralle
|Amma Endralle
|[[Illayaraja]]
|[[Illayaraja]]
|}



Language: [[Marathi]]
{| class="wikitable"
!'''Song Title'''
!'''Singer'''
!'''Lyrics & Composer'''
|-
|-
|Poovum Malarnthida
!valaga Rahile Door Ghar Mazei
|[[Swarnamukhi (film)|Swarnamukhi]]
![[Asha Bhosle]]
|Swararaj
!Lyrics: [[Shanta Shelke]]
|[[S. P. Balasubrahmanyam]], [[Swarnalatha]]
Music: [[Hridaynath Mangeshkar|Pt Hridaynath Mangeshkar]]
|-
|Kangal Theduthey
|[[Manathodu Mazhaikalam]]
|[[Karthik Raja]]
|[[Sadhana Sargam]], [[Jassie Gift]]
|-
|Devathaiyai Mannil
|[[Jjunction]]
|[[Bharadwaj (composer)|Bharadwaj]]
|[[Srinivas (singer)|Srinivas]], Reshmi
|-
|Or Mirugam
|[[Paradesi (2013 film)|Paradesi]]
|[[G. V. Prakash Kumar]]
|V. V. Prasanna, [[Pragathi Guruprasad]]
|-
|Marandhaye
|[[Teddy (film)|Teddy]]
|D.Imman
|Anya Swaras D1*
|-
|Enge Ponai
|[[Jeeva (2014 film)|Jeeva]]
|[[D. Imman]]
|[[S. P. Balasubrahmanyam]]
|}
|}

== Other Songs ==
'''Rock/Metal''': [https://www.youtube.com/watch?v=2xL0LmvS9y8 War of Kalinga] -[[Suraj Synthesist]]


==External links==
==External links==
*[http://chandrakantha.com/raga_raag/film_song_raga/puria_dhanashri.shtml Film Songs in Rag Puriya Dhanashree]
*[http://chandrakantha.com/raga_raag/film_song_raga/puria_dhanashri.shtml Film Songs in Rag Puriya Dhanashree]
* [http://oceanofragas.com/ocean_htmlpages/PooriaDhanashri.html More details about raga PooriaDhanashri]
* [http://oceanofragas.com/ocean_htmlpages/PooriaDhanashri.html More details about raga PooriaDhanashri]
* [https://www.sheetmusicdirect.com/en-US/se/ID_No/546445/Product.aspx Sheet Music Metal Raag Puriya Danashree 1]
* [https://www.sheetmusicplus.com/en/product/war-of-kalinga-22161124.html Sheet Music Metal Raag Puriya Danashree 2]


{{Rāgas as per Performance Time}}
{{Rāgas as per Performance Time}}

Latest revision as of 01:30, 23 November 2024

Puriya Dhanashree
ThaatPurvi
Time of dayAfter sunset
ArohanaṆ Ṟ G M̄ Ḏ N Ṡ or Ṇ Ṟ G M̄ Ḏ N Ṟ Ṡ
AvarohanaṠ N Ḏ P M̄ G Ṟ S
VadiP
SamavadiṞ
Equivalentdouble harmonic #4 scale
SimilarBhairav
Hindustani classical music
Concepts
Genres
Thaats

Puriya Dhanashree is a raga in Hindustani classical music. It belongs to the Purvi thaat and has been derived from the defining raga of that thaat – Raga Purvi.

The notes of Puriya Danashree correspond, in Western terms, to the double harmonic scale with an augmented fourth.

Structure

[edit]

Raga Purvi, the "type-raga" of the Purvi thaat contains all seven notes (i.e. Shadaj, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad). But the rishabh and the dhaivat are komal both in ascent and descent and the madhyam varies from teevra to shuddh whereas the gandhar and the nishaad stay shuddh throughout.

In Puriya Dhanashree, however, the aarohan or the ascent is as follows - -N r G M d N S+. This shows that pancham is not used very often in the aarohan thereby making it a shaadav aarohan or an aarohan with six notes. Rishabh and Dhaivat are komal or flat in Raag Puriya Dhanashree wheres the Madhyam is teevra or sharp. The descent or the avarohan is as follows: S+ N d P M G M r G r S, the descent bears all seven notes with komal Dhaivat and Shadaj and a teevra Madhyam. The vadi of this raga is pancham and the samavadi is rishabh. Raag Purvi's structure is very close to that of raga Puriya Dhanashree therefore in order to differentiate between the two shuddha madhyam is often used in raga purvi unlike the teevra madhayam used in raga Puriya Dhanashree.

The gayan samay or the time of singing this raga is at dusk. Raag Puriya Dhanashree is sung at time of transition from the afternoon to the evening and thus it is known as a Sandhiprakash Raga. The pakad of this Raga or the catch phrase of this Raga under the Bhatkande system is -N r G, M r G P, M d P, M G M r G d M G r S . While expounding the uttaranga part of this Raga the phrase M d N d S+ is used to move into the taara saptak (higher octave). The transition from the taara saptak Re to the Madhya Saptak Ni is commonly through the use of a meendh.

Raga-Rasa Theory

[edit]

Each sruti or micro tonal interval has a definite character; the names manda, candovati, dayavati, ranjani, raudri, krodha, ugra or khsobhini denote their emotional quality which dwells in combination or singly in the notes of the modal scale: thus, dayavati, ranjani and ratika dwell in the gandhara and each of the notes ( swara ) of the scale in its turn has its own kind of expression and distinct psychological or physical effect and can be related to a colour, a mood ( rasa or bhava ), a metre, a deity or one of the subtle centres ( chakra ) of the body. ...Thus for the sringara (amorous or erotic) and the hasya (laughter) rasa, the madhyama and the pancham are used; for the vira (heroic), raudra (wrathful) and the adbhuta (wondrous), the shadja and the rishabha; for the bibhatsa (repulsive) and the bhayanaka (fearsome), the dhaivata; and for the karuna (compassionate), the nisada and the gandhara are used. Every swara stands for a certain definite emotion or mood and has been classified according to its relative importance, and it forms a different part of the `person' of the modal scale.

Recordings

[edit]

Film Songs

[edit]

Language: Tamil

[edit]

Note that songs are composed in the Carnatic ragam Pantuvarāḷi, which Puriya Dhanashree sounds similar to.

Song Movie Composer Singer
Amba Manamkanindhu Sivakavi Papanasam Sivan M. K. Thyagaraja Bhagavathar
Yezhu Swarangalukul(Ragamalika with Sindhubairavi, khamboji) Apoorva Raagangal M. S. Viswanathan Vani Jairam
Neerada Neram Vaira Nenjam
Arpudha Kalaidhan Idhaya Nayagan Deva
Intha Nimisham Hello Hariharan, K. S. Chithra
Thenthoovum Vasandham Vaidehi Kalyanam Mano, K. S. Chithra
Karmegam Oorgolam Pogum Kalamellam Un Madiyil Chandrabose S. P. Balasubrahmanyam, S. Janaki
Devi Devi Naan Adimai Illai Vijay Anand
Rojavai Thaalattum Ninaivellam Nithya Illayaraja
Kaadhal Ennum Kaaviyam Vattathukkul Chaduram Jikki
Piraye Piraye Pithamagan Madhu Balakrishnan
Om Sivoham Naan Kadavul Vijay Prakash
Ninnaichcharan Adainthen Bharathi Bombay Jayashree
Yenna Varam Vendum Nandhavana Theru Mano, Lekha, Sindhu Devi
Sree Ramavaarai Sri Rama Rajyam Chinmayi, Sakyath
Aadum Pambirukuthu(Ragam Panthuvarali touches) Illam P. Jayachandran
Enna Nadakkudhu Saami Maamanithan Muthu Sirpy
Nalam Paaduven Kanmaniye Pesu Raveendran S. Janaki
Hai Rama Rangeela A. R. Rahman Hariharan, Swarnalatha
Athini Sithini Thenali Hariharan, Chitra Sivaraman, Kamal Haasan
Macha Machiniye Star Unni Menon
Oh Nenjame Paasakanal S. A. Rajkumar K. J. Yesudas, Sunandha
Adi kadhal Enpathu Ennavale Hariharan
En Vanam Neethana Dhinamdhorum Oviyan S. P. Balasubrahmanyam, Shenoy Balesh
Or Aayiram Yaanai Nandha Yuvan Shankar Raja P. Unnikrishnan
Amma Endralle Illayaraja
Poovum Malarnthida Swarnamukhi Swararaj S. P. Balasubrahmanyam, Swarnalatha
Kangal Theduthey Manathodu Mazhaikalam Karthik Raja Sadhana Sargam, Jassie Gift
Devathaiyai Mannil Jjunction Bharadwaj Srinivas, Reshmi
Or Mirugam Paradesi G. V. Prakash Kumar V. V. Prasanna, Pragathi Guruprasad
Marandhaye Teddy D.Imman Anya Swaras D1*
Enge Ponai Jeeva D. Imman S. P. Balasubrahmanyam

Other Songs

[edit]

Rock/Metal: War of Kalinga -Suraj Synthesist

[edit]
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