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Puriya Dhanashree
Thaat	Purvi
Time of day	After sunset
Arohana	Ṇ Ṟ G M̄ Ḏ N Ṡ or Ṇ Ṟ G M̄ Ḏ N Ṟ Ṡ
Avarohana	Ṡ N Ḏ P M̄ G Ṟ S
Vadi	P
Samavadi	Ṟ
Equivalent	double harmonic #4 scale
Similar	Bhairav

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

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

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, on Palace Theatre, Paris 1972, Volume II, Sri Moonshine Music, 2017 (as Raag Puriyaa Dhanaashree)

Film Songs

Language: Tamil

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	M. S. Viswanathan
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	S. A. Rajkumar	Hariharan
En Vanam Neethana	Dhinamdhorum	Oviyan	S. P. Balasubrahmanyam, Shenoy Balesh
Or Aayiram Yaanai	Nandha	Yuvan Shankar Raja	P. Unnikrishnan
Amma Endralle	Nandha	Yuvan Shankar Raja	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