Bageshri
Bageshri (IAST: Bāgeśrī) 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 Mian Tansen, the celebrated court singer of the Emperor Akbar in the sixteenth century.
| Thaat | Kafi |
|---|---|
| Type | Audava-Sampurna |
| Time of day | Around midnight[1] |
| Arohana | S G̱ M D Ṉ Ṡ |
| Avarohana | Ṡ Ṉ D M G̱ R S |
| Pakad | D n s, m, m P D, m g R S |
| Vadi | Ma |
| Samavadi | Sa |
| Synonym | Vagishvari[1] |
| Similar | Rageshri |
| Hindustani classical music |
|---|
| Concepts |
| Genres |
| Thaats |
In the twentieth century, Bageshri raga found widespread popularity in Carnatic Music. The popular Hindi music director C.Ramchandra favoured 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.[2]
Theory
The theoretical aspects of Bageshri are as follows:
Scale
- Arohana : S G̱ M D Ṉ Ṡ[lower-alpha 1][1]
- Avarohana : Ṡ Ṉ D M G̱ R S[lower-alpha 2][1]
Vadi & Samavadi
- Vadi : Madhyam (Ma)
- Samavadi: Shadaj (Sa)
Samay (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 |
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.[3] 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,[3] 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 M₁ D₂ N₂ Ṡ[lower-alpha 3]
- avarohaṇa : Ṡ N₂ D₂ N₂ P M₁ G₂ R₂ S[lower-alpha 4]
This scale uses the notes shadjam, chathusruti rishabham, sadharana gandharam, shuddha madhyamam, panchamam, chathusruthi dhaivatham and kaisiki nishadam.
Popular compositions
Bageshri has become a popular raga in Carnatic music.[3] It is pleasing but the Carnatic version of the scale does not give much scope for elaboration (alapana).[3] 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.[3]
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
See also
- List of Film Songs based on Ragas
Notes
- Alternate notations:
- Carnatic: S G₂ M₁ D₂ N₂ Ṡ
- Western: C E♭ F A B♭ C
- Alternate notations:
- Carnatic: Ṡ N₂ D₂ M₁ G₂ R₂ S
- Western: C B♭ A F E♭ D C
- Alternate notations:
- Hindustani: S G̱ M D Ṉ Ṡ
- Western: C E♭ F A B♭ C
- Alternate notations:
- Hindustani: Ṡ Ṉ D Ṉ P M G̱ R S
- Western: C B♭ A B♭ G F E♭ D C
References
- Bor & Rao 1999.
- Kaul, Mahendra (2 February 1978). "Interview with C Ramchandra". BBC Studios. Retrieved 11 April 2019.
- 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 9780954397609.CS1 maint: ref=harv (link)