S-R-g-m-P-D-n-S

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An ancient raga of the late night, Bageshri is associated with vipralambha – the profound shades of longing felt by a separated lover. These sentiments are reflected in its multipolar phraseology: artists may resolve towards Sa for a clustered, inward-turning feel, or towards shuddha ma for a more open, expansive sound – often seen as symbolising two lovers, or perhaps competing waves of emotion within a single soul. Prakriti with Bhimpalasi, Shahana, Raisa Kanada, and other Kafi-shaped ragas – although Bageshri should be tuned to its own distinct set of sruti.

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Aroha (6): SnDnS, SgmD, gmDnS

Avroh (7): SnDm, mPDmg, mgRS

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Chalan: SnD DnS; Sgm gmD gmnD gmDnS; Sgm mgRS; SnDm, mPD mg; mgRS DnS mgRS

–Shahid Parvez Khan (2017)–

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“Bageshri is an old and ‘big’ raga…It finds mention in the older treatises as ‘Vageeshwari’…The ma is powerful, the melodic centre of gravity…[and] the touch of Pa occasions moments of delicious frisson…” (Rajan Parrikar)

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—Context—

Origins, myths, quirks, & more

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[more coming soon!]

 

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–Amir Khan (1970s)–

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“The reflective temper of Amir Khan is well-matched to Bageshri’s expansive space. The rich, measured strokes of his vocal brush hold us captive to this séance. He picks up a traditional vilambit composition – Bahu guna ka mana – and tops it off with a tarana…” (Rajan Parrikar)

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—Phraseologies—

Swaras, geometries, movements, characteristics…

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–Shivkumar Sharma (2007)–

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“Suppose I’m playing Bageshri. After tuning the Sa, the next note I will tune is Ma. Then the next [is] Dha, then Ga and Re. I’ll play phrases, tuning in relation to the other swaras…then you get the exact microtones of that raga. If you tune Bageshri like Kafi [i.e. in aroha order], then maybe you will not get the correct Gandhar…” (Shivkumar Sharma)

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—Swara-Set Similarities—

• Prakriti: Kafi, Bhimpalasi, Shahana, Desi, Dhanashree, Raisa Kanada, Mudriki Kanada, Hussaini Kanada

Rageshri = ‘Bageshri shuddha Ga‘

Patdeep = ‘Bageshri shuddha Ni‘

Ahiri = ‘Bageshri komal re‘

Darbari = ‘Bageshri komal dha‘

Sindhura = ‘Bageshri double Ni‘

Lankeshwari = ‘Bageshri double Ga‘

–Around the World–

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—Ma No Pa (India/UK)—

(Shakti, 2005)

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

–Swara Geometries–

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• Core form: S-R-g-m-P-D-n-S

• Reverse: SRgmPDnS (=itself)

• Inverse: Ni; SRmPDS (=Durga)

• Imperfect: 1 (Dha)

• Detached: none

• Symmetries: mirror (S—M)

• Murchanas: Bilawal set

–Global Translations–

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• Carnatic: ~Kharaharapriya

S-R₂-G₂-M₁-P-D₂-N₂-S

• Jazz: Dorian

1-2-b3-4-5-6-b7-8

• Pitch classes (‘fret-jumps’):

0-2-3-5-7-9-10-0

(2–1–2–2–2–1–2)

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o • o o • o • o • o o • o

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• Tanpura: Sa–ma (+Dha)

• Names: Bageshri, Bageshree, Bageshwari, Vageeshwari

—Listen—

A brief selection of superb renditions

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–Hariprasad Chaurasia (1967)–

• Call of the Valley (10m):

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[refrain, e.g. 2:37] S m, SmgmR(g)S, R (nDn)D n(D); S m(gmS), SmgmR(g)S…

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–Nirmalya Dey (2015)–

• Dagarvani Dhrupad (20m):

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[refrain, e.g. 9:20] (S)m\gm, (mS)D(SD) Sn (Dn)D, m(D)PD, (m)g R(gm)S, nD (n)DSS, (S)m\g(mg) g/m, (m)D, m/n(Dn)D D(Pm), mm(DP)n D(nD) mg(m)R, S; (S)m\g/m…

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Further Recordings

• Shahid Parvez Khan (90m): astonishing rendition from a 2002 Australian show, featuring magical interplay with Anindo Chatterjee’s tabla
• Shivkumar Sharma (25m): a spellbinding tintal gat, featuring stronger use of Pa in many passages
• Ramakant Gaikwad (5m): filmed by Darbar in the Maharashtra desert

—More—

Further info: links, listenings, learnings, etc

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• Separation songs:

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• Header audio: Sitar-violin tarana in drut tintal by Purbayan Chatterjee & Kala Ramnath (2004: Samwad)
• Header image: ‘The Indian moon shines through leaves’ (Darbar)

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