S-R-g-m-P-D-n-S
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
Chalan: SnD DnS; Sgm gmD gmnD gmDnS; Sgm mgRS; SnDm, mPD mg; mgRS DnS mgRS
–Shahid Parvez Khan (2017)–
“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)
—Context—
Origins, myths, quirks, & more
[more coming soon!]
–Amir Khan (1970s)–
“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)
—Phraseologies—
Swaras, geometries, movements, characteristics…
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–Shivkumar Sharma (2007)–
“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)
—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):
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.
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–
• 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–
• 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)
o • o o • o • o • o o • o
• Tanpura: Sa–ma (+Dha)
• Names: Bageshri, Bageshree, Bageshwari, Vageeshwari
—Listen—
A brief selection of superb renditions
–Hariprasad Chaurasia (1967)–
- Call of the Valley (10m):
[refrain, e.g. 2:37] S m, SmgmR(g)S, R (nDn)D n(D); S m(gmS), SmgmR(g)S…
–Nirmalya Dey (2015)–
- Dagarvani Dhrupad (20m):
[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…
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
- Separation songs:
- Header audio: Sitar-violin tarana in drut tintal by Purbayan Chatterjee & Kala Ramnath (2004: Samwad)
- Header image: ‘The Indian moon shines through leaves’ (Darbar)