Dhanasari
Dhanashree is an Indian
classical raga that appears
in the Sikh tradition from
northern India and is part
of the Guru Granth Sahib .
Every raga has a strict set
of rules which govern the
number of notes that can
be used; which notes can
be used; and their interplay
that has to be adhered to
for the composition of a
tune.
Raga Dhanashree appears
in the Ragmala as a ragini
of Malkauns and currently
is a member of the Kafi
thaat. It closely resembles
Bhimpalasi in musical
content but the vadis and
moods are different.
Dhanashree is performed
in the early afternoon and
presents a cheerful, happy
mood. It provided the
setting for hymns by Guru
Nanak, Guru Amar Das ,
Guru Ram Das, Guru Arjan
and Guru Tegh Bahadar for
a total of 101 hymns.
The following represents
the order of notes that can
be used on the ascending
and descending phase of
the composition and the
primary and secondary
notes:
Aroh: Sa Ga Ma Pa Ni Sa
Avroh: Sa Ni Dha Pa Ma
Pa Ga Re Sa
Vadi: Pa
Samvadi: Sa
Pa is given considerable
emphasis and Ni and Pa
receive sliding approaches,
a characteristic of this
raga. The pentatonic ascent
provides some of the
melodic features of this
raga.
Dhanashree is an Indian
classical raga that appears
in the Sikh tradition from
northern India and is part
of the Guru Granth Sahib .
Every raga has a strict set
of rules which govern the
number of notes that can
be used; which notes can
be used; and their interplay
that has to be adhered to
for the composition of a
tune.
Raga Dhanashree appears
in the Ragmala as a ragini
of Malkauns and currently
is a member of the Kafi
thaat. It closely resembles
Bhimpalasi in musical
content but the vadis and
moods are different.
Dhanashree is performed
in the early afternoon and
presents a cheerful, happy
mood. It provided the
setting for hymns by Guru
Nanak, Guru Amar Das ,
Guru Ram Das, Guru Arjan
and Guru Tegh Bahadar for
a total of 101 hymns.
The following represents
the order of notes that can
be used on the ascending
and descending phase of
the composition and the
primary and secondary
notes:
Aroh: Sa Ga Ma Pa Ni Sa
Avroh: Sa Ni Dha Pa Ma
Pa Ga Re Sa
Vadi: Pa
Samvadi: Sa
Pa is given considerable
emphasis and Ni and Pa
receive sliding approaches,
a characteristic of this
raga. The pentatonic ascent
provides some of the
melodic features of this
raga.
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