| Thaat | Kafi[1] |
|---|---|
| Type | Audav Shadav/ Audav-Sampurna / Shadav sampurna Or sampurna sampurna[1] name="https://www.parrikar.org/hindustani/bageshree</ref> |
| Time of day | Around midnight[2] |
| Arohana | S g m D n S'[1] |
| Avarohana | S'n D m g R S
Or S' n D m P D g m g R SOr S' n D,P D n D m g, R G m g R S [1] |
| Pakad | D n s, m, m P D, m g R S |
| Vadi | Ma[1] |
| Samavadi | Sa[1] |
| Synonym | Vagishvari[2] |
| Similar | Rageshri[1] |
| Hindustani classical music |
|---|
| Concepts |
| Genres |
| Thaats |
Raga Bageshri or Bageshree (IAST: Bāgeśrī) is a Carnatic classical raga.It is a janya raga (derived scale)of the 22nd Melakarta raga Kharaharapriya. It is meant to depict the emotion of waiting for reunion with one's lover. Being a very melodic raga it has gained popularity over the centuries. In Hindustani music,it is said to have been first sung by Miyan Tansen, the celebrated court singer of the Emperor Akbar in the sixteenth century.
In modern days, people like the popular Hindi music director C.Ramchandra favour 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.[3]
Theory
The theoretical aspects of Bageshri are as follows:
Scale
Vadi & Samavadi
Pakad or Chalan
D n s, m, m P D, m g R S
- Varjit Swara – P & R in Aaroh
- Jati : – Audav-Sampoorna (Vakra)
Organization & Relationships
Samayā (Time)
The time for this raaga is madhya raatri (middle of the night).
Carnatic music
| Mela | 22nd, Kharaharapriya |
|---|---|
| Arohanam | S G₂ M₁ D₂ N₂ Ṡ |
| Avarohanam | Ṡ N₂ D₂ N₂ P M₁ G₂ R₂ S |
Bageshri raga a popular raga.It is derived from the 22nd Melakarta,Kharaharapriya.[4] This raga is a janya raga (derived) as it does not have all the seven notes in the ascending scale.
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 rāgam,[4] in Carnatic music classification (as it has 5 notes in ascending and 7 notes in descending scale). Its ārohaṇa-avarohaṇa structure is as follows (see swaras in Carnatic music for details on below notation and terms):
- ārohaṇa : S G₂ R₂ M₁ D₂ N₂ Ṡ[lower-alpha 1]
- avarohaṇa : Ṡ N₂ D₂ N₂ P M₁ G₂ R₂ S[lower-alpha 2]
This scale uses the notes shadjam, chathusruti rishabham, sadharana gandharam, shuddha madhyamam, panchamam, chathusruthi dhaivatham and kaisiki nishadam.
Popular compositions
Bageshri is a very melodic raga in Carnatic music.[4] So, even though this scale has been used only in a few krithis (compositions),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.[4]
Here are some popular compositions in Bageshri.
- Eru mayil eri vilayaducomposed by Arunagirinathar
- Sagarasayana by M. D. Ramanathan
- Maname Ariyen by Papanasam Sivan
- Antakanadutarige KiMchittu dayavilla by Purandaradasa
- Govindamiha by Narayana Theertha
Film Songs
Language:Tamil
Language:Hindi
See also
Notes
References
- 1 2 3 4 5 6 7 8 9 10 11 "Raag Bageshree – Hindustani Classical Music". Tanarang.com. Retrieved 25 August 2022.
- 1 2 3 4 Bor & Rao 1999.
- ↑ Kaul, Mahendra (2 February 1978). "Interview with C Ramchandra". BBC Studios. Retrieved 11 April 2019.
- 1 2 3 4 Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
Sources
- Bor, Joep; Rao, Suvarnalata (1999). The Raga Guide: A Survey of 74 Hindustani Ragas. Nimbus Records with Rotterdam Conservatory of Music. p. 26. ISBN 978-0-9543976-0-9.