RAAG BAGESHRI

History and Musical Characteristics of Raag Bageshri

The name Raag Bageshri is derived from the Sanskrit word Raag Bageswari which is a name of Lord Saraswati, the Goddess of Knowledge. Bageshri Raag has many other name also like Bagesari, Bageshwari, Vageshwari. This beautiful Raag is very popular among the musicians as a melodious Raag. There is an expression of love, romance and calmness in this Raag. In the twentieth century, Bageshri Raag also found widespread popularity in Carnatic Music.

Raag Bageshri History

This popular Raag was first sung by Milan Tansen, the celebrated court singer of Emperor Akbar in the sixteenth century. Milan Tansen, also known as the Sangeet Samrat (‘Monarch of Hindustani Music’) was a Hindustani classical Musician born on 1493 century in Gowalior ,Tomar Kingdom. He started his music career in the court and was a patronage of the Hindu king of Rewa, Raja Ramchandra Singh. For his widespread fame he was requested to join the musicians at the Mughal court from 1562 at the age of 60.

Did You Know?

Studies around the curing abilities of the Raag Bageshri is being undertaken, and insomnia, diabetes and hypertension are a few of the ailments, that Bageshri can supposedly cure.

Raag Bageshri Characteristics

There are so many Bollywood songs composed in this Raag. It has been believed that Raag Bageshri helps in reducing stress level and promotes mental health for its soothing and peaceful sound. It is a melody that pleases in isolation and is effective in emotional expression. The suitable time to sing this Raag is late night somewhere between 9PM to 12AM, which is called as “Raat ka Dusra Prahar”, which translates to “second half of the night”, which is meant to depict the emotion of a woman waiting for reunion with her lover.

Bageshri is emotional and layered.

Bageshri Raag and Kafi Raag are sung in the night hours, while Bhimpalasi Raag is sung in the afternoon. Therefore these three Raags are called Samaprakritik Raags. Raag Bageshri is considered as a tritonic Raag which is a Raag (melodic framework ) in Hindustani Music Theory. Its history dates back to the Banaji Ras Mal period of the 17th century, with compositions by great musicians like Hindustani ji and Gyanudayji. The Raag is composed of all the four types of notes (swaras) – Shiva, Shub

Bageshri’s Aroha contains 5 Swaras and the Abroha contains the complete 7 Swaras. So this Raag is of Audhav Sampurna Jati Raag. Raag Bageshri is based on Kafi. In Kafi the Ga and Ni are Komal. So in Raag Bageshri Ga and Ni are Komal. The dominant Swara(Vadi) of Raag Bageshri is “Ma” and the codominant Swara (Sambadi) is “Sa”. In this Raag we have to tune our tanpura to the swara “Ma” which is the most important thing. In Raag Bageshri “Pa” and “Re” are barjit or omitted in Aroha. In Abroha “Pa” is there, but you can’t give a pause in “Pa” while singing.

THAT- Kafi Thaat
WADI- Ma
SAMABDI- Sa
TIME- Night Raag (Madhya Ratri) 9PM to 12AM
NATURE- Calm
JATI- Audhav Sampurna
TAAL- Ek Taal (Dhrut Ek Taal)

Nyas- Sa Ma Da
Pakar- Ṇi Sa Ma Ģa Ma Da Ṇi Da Ma Ma Pa Da Ģa Ma Ģa Re Sa

Aroha-Sa Ģa Ma Da Ṇi Ṡa
Abroha- Ṡa Ṇi Da Ma Pa Da Ģa Ma Ģa Re Sa
Alap-Sa Ṇi Da Ma Da Ṇi Ṡa Ma Da Ṇi Ṡa

Raag Bageshri Kriti

Bandish-1(Based on Ek Taal -Dhrut Ek Taal)

Stahi

YaDa karo dhaNa dharo mata saraswati

YaDa karo dhaNa dharo mata saraswati
tuhi hamari Gati Mata saraswati (2)

Antra
Karuna karo bageswari (2)
Shabadha rakho bramha dulari (2)
Kirpa karo aoo aaJa (2)
dikh lawo tab joyti (2)

Stahi Notation
Ya – | Da ka | ro – | dha – |
Sa Re | Sa Sa | Ṇi Sa | Sa – |
Na dha | ro ma – | – ta | – sa |
Ģa Ma | – Ṇi – | – Da| – Ma |
Ra s | wa ti | tu – | hi na | ma – |
Ģa Ģa | Ģa Re | Sa – | Ṡa Re | Ṇi Ṇi |
Ri – | – Ga | ti – | Ma – | – ta | – sa | ra s | wa ti |
Ṇi – | – Da | Da – | Pa Da | Ṇi Da | Ma Ma | NS ND | Re Sa |

Antra Notation
Ka ru | Na ka | ro – | ba – |
Ga Ga | Ma Da | Ṇi Da | Ṡa – |
Ge – | Wa ri |Sha ba | dha ra |
Ṡa Sa | Ṡa Sa | Ṇi Ṇi | Ṡa Re
Kho – | bram ha | dulari |
Ṡa – | Ṇi Re Sa | Ṇi Ṇi |
Kir – | Pa – | ka ro | aoo – | aa – |
Da – | Da – | Ni Da | MaGa – | Re – |
Ja – | di kh | la wo | ta – b | joy – | – ti | – – |
Sa – | Da Ni | Sa Ga | Ma Da | MaDa NiSa | ReSa NiDa | MaGa – |

Taan
Yaad Karo
DaṆi SaĢa MaDa ṆiṠa ṆiDa MaGa
GaMa DaṆi MaDa ṆiṠa ṠaṆi DaMa
MaDa ṠaṆi DaMa GaMa DaṆi
ṠaṆi DaṆi ṠaṆi DaMa GaMa DaṆi

YaDa karo dhaNa dharo mata saraswati
SaĢa MaDa ṆiṠa ṆiDa MaGa MaGa
ReSa DaṆi ṠaṆi MaDa ṆiDa ṠaṆi

Tehai

Yaad karo (dhyan dharo mata saraswati) – (3)

Bandish-2(Based on Teen Taal)

Stahi 
Kaun karata tori binati piyaraba
Mano na Mano hamari baat

Antra
Jabse gaye mori sudhahu na lini
Kahe soutan ke ghar jaye

Stahi Notation
Ṡa – Ṇi Ṇi | Da Ma Pa Da |Ģa Ģa Re Sa |Re Re Sa – |
– Ṡa Da Ṇi |Sa – Sa Sa |Ma Da MaDa Ṇi |Ģa – Re Sa |

Antra Notation
Ģa Ma Da Ni | Ṡa- Ṡa Ṡa|Ṇi Ṡa ReṠa | Ṡa – Ṇi Da |
Da Da Da Pa |Ṇi – Da Ma |Ģa – Ma Ģa |Re – Sa – |

Now that you are introduced to how Raag Bagehsri Kritis are sung, lets see the other side.

Raag Bageshri Vocals

Raag Bageshri is a popular melodious Raag in Hindustani Music. Many beautiful Bollywood songs are composed by famous Hindi music Director C Ramachandra.

Ghadi ghadi mora dil dhadke (Film:Madhumati )
Aaja re paradeshi (Film:Madhumati )
Mai Rii mein kase kahoon (Film:Dastak )
Phir Chhidi Raat Baat Phoolon Ki Raat Hai (Film:Bazaar)
Tune O rangile kese jadu kiaa (Film:Kudrat)
Jaag dard-e-ishq jag (Film:Anarkali)
Radha na bole na bole na bole re (Film:Azad)
Kahena Hi Kya ye nain ek anjan se jo mile (Film:ombay)
Mera Chand Mujhe Aaya Hai Nazar(Film:Yeh Hai Mumbai Meri Jaan)
Jao Jao Nand Ke Lala – (Film:Rangoli)
Puchhta Ja Mere Marghat Se Guzarne Wale – Ghazal by Ghulam Ali
Bedardi Daghabaz Ja Tu Nahi Balma Mora – Bluff Master