Raga Bageshri

Raga Bageshri or Bageshree

Raga Bageshri or Bageshree is a Hindustani classical raga. It is a popular raga of the late night, which is meant to depict the emotion of a woman waiting for reunion with her lover. It is said to have been first sung by Miyan Tansen, the celebrated court singer of the Emperor Akbar in the sixteenth century.

There are several names besides Bageshree for this Raga like Bagesari, Bageshwari, Vageshwari etc. and also there are couple of options for Aaroh and Avroh. According to some maestros, Rishabh and Pancham should be Varjya in Aaroh, which makes it Audhav-Sampurna.

But, if we avoid both Rishabh and Pancham, raga Shri-Ranjani makes its appearance. Hence, the use of Rishabh in Aaroh makes it different from raga Shri-Ranjani and raga Bheempalasi. In raga Bheempalasi, n S m g R S or S g m g R S is used. That's why in raga Bageshree, R g m g R S or S R g m ; m g R S, these notes seems to be more appropriate (hence the Jati is classified as Shadhav-Sampurna), n, n S; S m; m P D m; m g R S at once creates the raga mood and the preponderance of D n S m; m m g; g m D; g m n n D; m D n D; m P D m completes the format.

This raga is suitable for both types of Shringars namely Virah and Karuna. It is a melody that pleases in isolation and is effective in emotional expression. Bageshri is one of the pleasantest of night ragas. It is the most favored raga among musicians and listeners. Bageshree leans towards contemplation, pathos and longing. This raga highlights and emphasizes the Ma swara.

The terrain of Marathi Natyageeta is studded with Bageshree gems. Vasantrao Deshpande hauls a couple of delectable items of which the first is from Mrucchakatik : Jana Sare. The much-loved dindi from Saubhadra : Bahut din nacha bhetalo is also based on Raga Bageshri.

In the twentieth century, Bageshri raga found widespread popularity in Carnatic Music, in which it is said to be derived from the equivalent Melakarta of Kafi thaat, the 22nd Melakarta called Kharaharapriya. This raga is a janya raga (derived) as it does not have all the seven notes in the ascending scale.

Credits:

https://en.wikipedia.org/

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Thaat : Kafi

Jati : Shadhav - Sampurna Vakra

Vadi : M

Samvadi : S

Arohana : S g m D n S'

Avaroh : S' n D m P D g m g R S

Vishranti Sthan : S; m; D; - S'; D; m; g;

Pakad or Chalan : D n s, m, m P D, m g R S

Varjit Swara : P & R in Aaroh

Swaras : Pancham Varjya in Aaroh, Gandhar and Nishad Komal. Rest All Shuddha Swaras.

Time : Second prahar of night (9PM to 12Night)

&

Thaat : Khamaj

Jati : Sampooran-Sampooran (7/7)

Vadi : S

Samvadi : P

Vikrit : Both N

Virjit : none

Aroh : S R G m, P D N S'

Avroh : S' n, D P, G m G R S

Time : Second prahar of night (9PM to 12Night)

Carnatic music - Raga Bageshri

Mela : 22nd, Kharaharapriya

Arohanam : S G2 M1 D2 N2

Avarohanam : N2 D2 N2 P M1 G2 R2 S

Structure and Lakshana

Bageshri is an asymmetric scale that does not contain panchamam or rishabam in the ascending scale. It is called a audava-sampurna ragam, in Carnatic music classification (as it has 5 notes in ascending and 7 notes in descending scale). Its arohana-avarohana structure is as follows (see swaras in Carnatic music for details on below notation and terms):

Arohanam : S G2 R2 M1 D2 N2

Avarohanam : N2 D2 N2 P M1 G2 R2 S

This scale uses the notes shadjam, chathusruti rishabham, sadharana gandharam, shuddha madhyamam, panchamam, chathusruthi dhaivatham and kaisiki nishadam.

In the twentieth century, Bageshri raga found widespread popularity in Carnatic Music. The popular Hindi music director C. Ramchandra favored composing songs in Bageshri, as he found it simple. In a 1978 interview at BBC studios with Mahendra Kaul, he explained this, while playing songs like (Radha na bole - Azad, 1955) that were set to Bageshri.

Songs in Raga Bageshree

1) Radha na bole na bole na bole re - Film : Azad

2) Aaja re pardesi, main to kab se khari is paar - Film : Madhumati

3) Jaag dard-e-ishq jaag - Film : Anarkali

4) Phir vahi shaam vahi gham vahi tanahaayi hai

5) Baagh Lagaa Doon Sajani

6) Mai Re Main Kase Kahoon

7) Tune O Rangeele

8) Ghadi Ghadi Mera Dil Dhadke

9) Meri Baat Rahi Meri Man Men

10) Aaj Mile Man Ke Meet

11) Bedardi Daghabaaz

12) Woh Zalim Pyar Kya Jane

13) Chah Barbad Karegi - Film : Shahjehan

14) Hamse aya na gaya

15) Ja Re, Beiman Tujhe Jan Liya - Film : Private Secretary -Year : 1962

16) Kaise Kate Rajani - Film : Kshudito Pashan - Year : 1960

17) Madhura Madhura Sangeet - Film : Sangeet Samrat Tansen - Year : 1962

18) Shubh Ghadi Aai - Film : Insaaf Ki Tope - Year : 1934

19) Chaman Men Rang-e-Bahar Utara To Maine Dekha- a ghazal by Gulam Ali

Listed below are some of the popular Bandishes (compositions) of Raga Bageshri :

1. Sohata hathamaa beena.

2. Baradaayanee ho ree

3. Der na der na.

4. Jaya jaya girijaraaja kishoree

5. Ruma jhuma baaje paayaliyaa

6. Payal baaje mori

Popular compositions in Carnatic music

Bageshri has become a popular raga in Carnatic music. This scale has been used in a few krithis (compositions). In addition, many devaranamas, ashtapadis, thiruppugazhs, and other lyrics have been set to tune in this raga. It is typically sung in concerts after the main piece, in viruttams, padams, bhajans and ragamalika.

Here are some popular compositions in Bageshri.

1) Eru mayil eri vilayaducomposed by Arunagirinathar

2) Sagarasayana by M. D. Ramanathan

3) Maname Ariyen by Papanasam Sivan

4) Antakanadutarige KiMchittu dayavilla by Purandaradasa

5) Govindamiha by Narayana Theertha

6) Kaanaa Inbam Kannidhadheno

7) Kalaiyae En Vazhkaiyin

8) Mayakkum Maalai

9) Kangale Kangale

10) Paal Irukkum Pazham Irukkum

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