Puriya Dhanasri (audio file included)

Greetings friends!

Raga Puriya Dhanasri is a semi-common raga used in the Hindustani system of music. The song "meri saanson ko jo mekha rahi hai" from Badalte Rishte is in this raga (w/ the exception of the use of shuddha dha at points). Ismail Darbar loves this raga to the point he uses pieces of Puriya Dhanasri in almost all of his songs. This twilight raga (sandhi prakash raga) has the following scales:

Aroha: 'N r G M d N S' r' S'

Avaroha: N r' N d P P d M G M G r S 'N S

Vadi/Samvadi: P/S

This raga has another harmonic pairing of G and N. Do not forget that this is a Puriya Dhanasri. Puriya is raga from the Marwa Thaat with the notes.

S r G M D N (just notes, no flow). Puriya omits Pancham swar and includes a shuddha dhaivata. Puriya Dhanasri has Pa and KOMAL dha. The Puriya aspect comes from the fact that vadi/samvadi of the raga (Puriya) is Ga and Ni. This is why when harmonium players play chords for Puriya Dhanasri, the common chords they will use is Sa major chord (S G P), Ga minor chord ('N G P), and hitting komal dha would require the use of ('N G d). See how the Ga and Ni harmony can save, or rather, infuse a new life in this raga?

Technically, it is the original raga used to define the Purvi thaat. The Puriv Thaat is defined as:

S r G M P d N S'. This is the thaat used for ragas like Puriya Dhanasri, Shri, Basanta, Lalita, Raga Vardhini, and Purvi.

Since Purvi is the Thaat name, this must imply that the Purvi raga must have the same swars as the thaat. However, this structure is too close to Puriya Dhanasri that a musician would have trouble telling the two apart. Therefore Purvi includes a sandwhiched shuddha ma (unlike Lalita's chromatic shuddha ma and tivra ma). This is why North Indian music many rejected Bhatkhande's ten thaats.

Anywho, the AUDIO FILE! 😊 

This audio file is from the film Woh 7 Din. The scene is such:

Padmini Kolhapure (a village girl) is taking a bath, and Anil Kapoor (a music director and musical pandit) is above worshipping Suryadeva (Sun god). He is doing prayers with his eyes closed. Padmini was trying to lure him (as she was attracted to him) so she tries to impress him by singing Puriya Dhanasri. But she messes up. Listen to the file and get ready for the good laugh!

http://rapidshare.de/files/16876640/payaliya.mp3.html

Originally posted by: adwarakanath

Thanks bhaktada 👏 👏 👏

Is the video of Padmini included as well 😉 😛 😆

haha... no. I only have the audio file.

The male singer in the clip is Suresh Wadkar.

Thanks Bhakta.

Abhi, you can see much more in EMAET, so don't worry about the Video. 😉

Originally posted by: adwarakanath

The female's alaap....i've heard it somewhere....exactly the same alaap...in one of either Mannada's songs or Rafi's songs....I am dead sure of it.

I didn't know of that! Thanks for letting me know!

Thanks Bhaktada. I am relatively new at this forum but I am glad that other than SRGAM exclusively, we talk about real music here. Thanks for sharing. 😊

Originally posted by: kishore_bhakta

haha... no. I only have the audio file.

Great post 👏

Kahe Ujadi Mori Neend is definitely Sohini!!!

Sohini is S r G M D N S' r' S', S' N D M D M G r S.

Holding the word "need" on Sa for the length he does is totally forbidden in Marwa and Puriya. Also, he rests on Dha a lot.

(I don't like the excess interludes, or adding that shuddha which reluctantly reminds me of Lalita).

Puriya Dhanasri is not in Marwa That. It's in Purvi Thaat.

BTW... the flow of this compositions sounds ID-like, with excess instrumentation and addition of way too many vivadis (sometimes they sound nice, but other times, they aren't that fun to listen to).

A couple of days back in the Vividh-Bharati morning seesion, in Sangit Sarita, they played the song from Badalte Rishtey - "Meri sanson ko.." - that KBji mentioned. BUT they introduced it as Raag Purya-Kalyan.

KBji can you enlighten on this confusion?