Description:
Raga
Poorvi, the "type-raga" of Purvi Thaat contains all seven
notes (i.e. Sharaj, 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 tivra to shuddh
whereas the gandhar and the nishaad stay
shudh 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 tivra 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 Shadj
and a tivra Madhyam. The vadi of this
raga is pancham and the samavadi is rishab. Raag Purvi's structure is
very close to that of raga Puriya
Dhanashree therefore in order to
differentiate between the two shudhha madhyam is often used in raga
purvi unlike the tivra 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.
This
Raag occupies very important place among evening melodies. It
produces compassion and is emotional in character. It is very
close
to Raag
Purvi, which employs both Madhyams.
In
Raag Puriya Dhanashri, Pancham is a very prominent note which is also
the center point of all the Raag expansion. However,
often Pancham is
skipped in Aaroh and sometimes in Avroh like: ,N
r G M P ; P d P ; P d M P ; M G ; M d N S' ; N r' N d P ;
M d M G r ;
G M r G r S. Shadj is also generally
skipped in both Aaroh and Avroh, like: ,N
r G M P ; M d N S' ; N r' G' ; G' r' S' ;
N r' N d P ; d P M P ; M G
M r G ; r S. Aalaps and Taans
generally start from Nishad.
In this Raag P M G M r G are the Raag Vachak notes. Following are the illustrative combinations of Raag Puriya Dhanashri:
,N
r G ; G M G ; M P d P d M P ; M G M r G ; G r M G r S ; ,N r S ,N r G
; G M M G r G r G M P ; M g M r ;
r G ; r G M P d P d M P ; P d P M G
; M r G ; ,N r M G r G ; r S ; ,d ,N r G ; M d N S' ; S' N r' S' ; r'
N d P ;
P d P M d P ; d P M G M r G r S ; P d P M G M d N S' ; N r'
S' ; d N r' G' G' r' S' ; N r' N d ; P d P M ;
G M r G ; r G M P d P
M ; G M r G r S ;
Rag Puriya dhanashri belongs to Purvi (vide) group of rag-s. It is quite popular and commonly heard rag.
Tone material: S r G M P d N
The
ascent begins with lower Ni; Pa is avoided, but it can occur as a
terminating note in ascending movements
such as N r G M P.
Pa and Sa are important notes while Ga is a strong resting note. The
phrase M G M r G- is highly
characteristic for Puriya
dhanashri.
Some characteristic phrases:
N
r G M P -M d P
N r N d N – d P
P- M G M r G
The
major distinction between Puriya dhanashri and Purvi is on account of
natural Ma, which figures prominently in
the descent of Purvi, while
it is altogether avoided in Puriya dhanashri. Some movements in
Puriya dhanashri,
especially in the lower tetrachord, are similar to
that in rag Puriya
(vide). These include phrases like
N r M G and N r N /M \G. However,
Puriya is distinct with omission of Pa and inclusion of natural Dha.
Puriya
dhanashri has the same tonal material as rag Shri
(vide). However there is a considerable
difference in the melodic
configuration of the two rag-s.
In Puriya dhanashri movements begin with lower
Ni and progress like N
r G M d N, while movements in Shri commence on Sa and proceed as S r
/P or
S r M P N S r (high).
The
characteristic descending phrase in Puriya dhanashri is N r N d P,
which helps keep it distinct
from rag Basant
(vide).
Raga
Puriya Dhanashree is a dusk raga and it belongs to the Poorvi Thaat.
It is actually a mix of two
ragas, Puriya and Dhanashree. It is hard
to classify the emotional character of this raga as it varies from
the
transition of one note to another. The sobriety of Raga Puriya
Dhanashree's scale makes it very emotional
in character. It is
embellished with the raudra and bhayanaka or the wrathful and the
fearsome while using
the dhaivat, madhyam and the rishabh but it also
contains the karunakara or compassionate characteristic
while using
the nishad.
Benefits:
1. Creativity
and Happiness
2. Celebration &
Joyfulness
3. Relaxation
4. Coherence ,Happiness
5. Harmony
6. Evokes
sweet,deep,heavy,cloudy and stable state of mind and prevents
acidity..