The Automated Transcription for Indian Music (AUTRIM) Project by NCPA and UvA

Puriya dhanashri

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).

Time: sunset (Bhatkhande [KPM IV] 1976: 342

Further listening:  Bhimsen Joshi EALP 1280
Sharan Rani (sarod) ECSD 2421
Recording by Veena Sahasrabuddhe
Recording by Vishwamohan Bhatt and Parmeshwar Hegde

Performance by Aslam Khan

Composition: bada khayal

काहे गुमान करे
बावरे या जगमें
जग नहीं एक समान

गरव करम की
बात से मान घटे
दिलरंग जाये विद्या ग्यान

The composition is penned by the Agra gharana stalwart Azmat Hussain Khan alias Dilrang.
Why are you being so egoistical? Please understand that this world is ephemeral.  Your ego will take you down. (Hence) Dilrang seeks the path of true knowledge.

Tal: Ektal (slow tempo)

4-10: Opening phrase emphasises Ga. Note the touch of Re (7)
12: This is juxtaposed by stressing the lower Ni. Note the ornament (murki) at the beginning of the phrase
18-29: Ga is sustained again, followed by Pa, one of the important note in this rag
35-38: G M r G, one of the characteristic movements in this rag
40-42: Note the ornament (combination of murki and gamak)
50: Composition begins. Note the sustained Pa and oscillating Ma returning to Ga. Refrain includes a characteristic phrase – M d N r N d (r)N d P
120: First line again with little variation
168: Elaborations using words of the composition (bol alap)
207: Second part of the composition (antara)
261: Elaborations using words of the composition

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