Raag Puriya Dhanashree by Shruthi Krishnamurthy

I think i have crossed the next big step in treating vocals while mixing. Ms Shruti a trained Hindustani Classical singer for 12 years has rendered a rather perfect form of Raag Puriya Dhanasri. A Raag often used for sad and emotionally challenging moods. Usually rendered in lower octaves. You have heard traces of this in A R Rahman’s Hai Rama track from Rangeela

I got the vocals and added a strong bass line with some oceanic sounds in surround mode. I took like few days to mix down the track and here i present you what i can call as my best work so far. It is also the simplest and also the most complex work. When you have the vocals of a trained person, you don’t wanna play around with it much.

Best heard in good quality sound systems or great headphones ( not iPod headphones!)

This is Raag Puriya Dhanasri treated with utmost care and respect and mixed with the best possible technical knowledge i could gather.

• Singer : Shruthi Krishnamurthy
• Production, mixing and arrangement : Me

Listen here

Download here

About the Raag

Thaat – Purvi
Jaati – Shadav – Sampurna
Vadi Swar – प
Samvadi Swar – रे॒

Time – Evening.

Aaroh – नी़़ रे॒ ग मे ध॒ नी रेँ॒ सां।
Avroh – रेँ॒ नी ध॒ प, मे ग मे रे॒ ग रे॒ सा।
pakad – नी़़ रे॒ ग, मे प, ध॒ प, मे ग, मे रे॒ ग, रे॒ सा। ( ़ this indicates that it is a lower octave (मंद्र सप्तक)

The Purvi Thaat contains all seven notes (i.e. Shadja, 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 Rishabh and a tivra Madhyam. The vadi of this raga is pancham and the samavadi is shadaj. 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 gana 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 its 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.

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