S-R-G-m-D-n-S

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Working along the lines of a ‘shuddha Ga Bageshri with shades of the Khamaj-ang’, the early-night Rageshri enjoys popularity among vocalists and instrumentalists alike. Like Bageshri, Re is often weak in ascent, and the ma–Dha sangati is strong – while unlike Bageshri, Pa is varjit throughout (likely as a result of shuddha Ga destroying the whole-tone symmetry of Bageshri’s mPDmg catchphrase). This brings consistent prominence to shuddha ma, which is often used to set up emphatic downward resolutions, e.g. Gm, mGRS (although the raga formerly featured both Ni variants, it now restricts itself to the komal only: see melodic summary). Described by santooriya Tarun Bhattacharya as “reflected through the emotions, depth, and sweetness of romanticism“, Rageshri’s precise origins are uncertain: Joep Bor argues that it only rose to widespread fame around the turn of the 20th century, although an older sampurna form, presumed as an offshoot of the Bageshri lineage, may have existed since Tansen’s time (see Aarshin Karande’s analysis below) – while Abhirang has recorded “an older form of Rageshri” entitled Shringeri. [n.b. The ‘Khambavati’ sung in the Jaipur-Atrauli gharana is essentially identical to the modern Rageshri: although Khambavati’s usual SRGmPDnS scale already lies nearby.]

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• Hindustani Raga Index •

Aroha: DnSGmDnS

Avroh: SnDm, GmRS

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Pakad: e.g. DnSGm; mGmRS

Chalan: e.g. DnSGm; SGmD; nDm; GmDn; D(S)nS; DnSG; m(G)RnS; SnDm; GmD; (n)Dm; Gm(G)R; S(n)DnS (Bor/Dasgupta)

• Generally based around a ‘Bageshri shuddha Ga’ structure, with core motions including DnSGm; GmD; GmnD; GmDnS – although Pa is usually varjit throughout

• Shuddha Re is omitted in aroha – but is vital to vakra avroh conclusions such as Gm; mGmRS which hint at Jhinjhoti’s Khamaj-ang flavours

• Shuddha ma is a focal point in both directions – accentuated by the leading-tone role of shuddha Ga in ascent (SGm; DnSGm), and by the wide-jumping ma-Dha sangati in descent (Dm; SnDm)

• In the past, renditions often included shuddha Ni in the ascent line – and today, a few artists feature Pa in the Bageshri-ang mPDmG (sometimes titled ‘Sampurna Rageshri’)

• Associated with shringara (‘love, romance, attraction’), and typically performed with dynamism and rhythmic charge – with the shuddha Ga bringing a more celebratory character than the ‘introspective’ Bageshri

• Compositions •

—Vilayat Khan (Imdadkhani sitar):

• [tintal] SmGmR, S nS, n D, (S)nnS; SSG, GGm, (Dm)Gm, (m)RRS

—Buddhadev DasGupta (Senia-Shahjahanpur sarod):

• [tintal] GGmmR SnSS, SnSn(S)n nD, SG mmDnD

—Vilayat Khan (2006)—

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[gat themes, e.g. 7:47] SmGmR, S nS, n D, (S)nnS; SSG, GGm, (Dm)Gm, (m)RRS; SmGmR, S nS, n D (S)nnS…

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• More •

Histories, melodies, mythologies, etc…

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Aarshin Karande’s 2024 tribute to Sharafat Hussain Khan provides insight into Rageshri’s shifting shades. In the Mewati vocalist’s own words, “There are two major varieties of this raga. The most popular adheres to a largely pentatonic version of Khamaj/Jhinjhoti [SGmDn] with a lilting shuddha Re taken in descent (audav–shadav). The second, and, by some accounts, older version is a largely hexatonic version of Khamaj/Jhinjhoti [SRGmDn], but with the rules of Bageshri for Re and Pa: which can be taken in ascent or descent depending on context (shadav–sampurna).

 

This bandish is based on the latter version of Rageshri (which is sometimes referred to as ‘Khamaj-ang Rageshri’ or ‘Sampurna Rageshri’). Members of the Agra Gharana suggest that it was created by their ancestor Haji Sujan Khan-saheb (as evidenced by his composition Aali Ri Aaj Aayo) – however, the Khandarbani and Senia traditions suggest that it was created by Miyan Tansen (as evidenced by He Yadunath He Jaga Jeevan). Given that Haji Sujan Khan and Miyan Tansen were contemporaries at Emperor Akbar’s court, it is likely that Rageshri surfaced or became popular during that time.

 

Rageshri has shades of Khamaj, Jhinjhoti, and Bageshri. Consequently, it has gained a popular reputation for being bright, relieving, blissful, and exciting…But despite its dynamic nature, it raga largely features compositions that have been set to textual themes of love and devotion. This composition by Mehboob Khan-saheb ‘Daraspiya’, is no exception. Performed in vilambit, madhya, and drut, this bandish remains one of Rageshri’s most popular. Presented humbly as an offering to the genius of Ustad Sharafat Hussain Khan-saheb…”:

 

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—Aarshin Karande (2024)—

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“My intoxicating beloved has come, waking us up this morning, having relished with me in the night; I know your joy and recognize you, who has relished the night away with me…” [Aayo Ata Matavaro Savaro]

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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

Thaat: 10 | 32 | Enclosed | Inexact

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

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

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

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

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: (none found)

See all shadav ragas which omit Pa – and also compare to other members of the Khamaj raganga

–Swara Geometries–

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• Core form: S–R–G–P–D–n–S

• Reverse: SRgPdnS

• Complement: SrgMPdNS (=Todi)

• Imperfect: 2 (Sa, Ga)

• Detached: none

• Symmetries: mirror (r—P)

• Murchanas: none

–Global Translations–

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• Carnatic: ~Nattakurinji

S-R₂-G₃-M₁-D₂-N₂-S

• Jazz: Mixolydian (no 5th)

1-2-3-4-6-b7-8

• Pitch classes (‘fret-jumps’):

0-2-4-5-9-10-0

(2–2–1–4–1–2)

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o • o • o o • • • o o • o

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• Tanpura: Sa–ma (+Dha)

• Names: Rageshri, Rageshree, Rageshwari

• Transliterations: Hindi (रागेश्री); Bengali (রাগেশ্রী)

—Venkatesh Kumar (2020)—