Attributed to Saraswati (Hindu goddess of learning), this raga was earlier known as Vaageeshwaree (goddess of speech or literature).
Thhaat (parent scale)
Kafi
Jaati:
There are different views; but the most popular one endorses Shaadav-Sampoorn (6 notes in ascent-7 notes in descent)
Vaadi:
Madhyam (M)
Samvaadi:
Shadja (S)
Swaras:
Komal Gandhaar and Nishaad; rest shuddh swaras; omits Rishabh and keeps Pancham very weak in the ascending order.
Aaroh (ascent):
n.S g M D n S’ (Western Notes: A# C D# F A A# C)
Avaroh (descent)
S’N D, M P D g, M g R S (Western Notes: C A# A, F G A, F D# D C)
Key phrases:
S n.D.n.S, M.D.n.S, S M, M g-, M D, n D, M P D g, M g R S, g M D n S’, M’g’r’s’, M D n D, M P D g, M g R S.
Time:
Midnight
Bageshree is a heavy raga, replete with heavy meends and gamaks and flourishes in slow tempo. The oscillating Komal Gandhaar infuses it with melancholic mood steeped in sweetness. Though the Pancham comes in ascending order, it is avoided in the aaroh. The Vakra (deviously touched) Pancham enhances the beauty of the descending phrases! There are several similar ragas like Rageshree, Sampoorn Malkauns, Bageshree Kanada. Raga Bageshree of Hindustani stream is very different from the Bageshree of Carnatic stream.
Bibliography
1. Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
2. The Oxford Encyclopedia of the Music of India
3. Ustad Amir Khan, Pioneer of Indore Gharana by Pandit Tejpal Singh
4. The Raga-ness of the Ragas by Deepak Raja
Links
1. Ustad Bade Ghulam Ali Khan (vocal)
2. Pandit Nikhil Banerjee (sitar)
3. Ustad Amir Khan (vocal)
4. Pandit Buddhadev Dasgupta (sarod)
Manjusha Kulkarni-Patil (khayal) performs Raag Bageshree at the Teatro Alighieri for Ravenna Festival 2017, Italy, accompanied by Guardian Rayatt (tabla) and Milind Kulkarni (harmonium).
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