The Automated Transcription for Indian Music (AUTRIM) Project by NCPA and UvA


Bageshri is a very distinguished rag which offers ample scope for elaboration. In the past this rag may have belonged to the Kanada group, but today Bageshri and Bageshri kanada are considered separate rag-s by some.

Tone material: S R g m P D n

Pa is omitted in ascent and used rather infrequently in descent. It is very common to avoid it in fast passages. Sa and Ma are the strong notes but Dha is sustained as well in the typical movement m /D- n D \m. Both Ga and Ni can be oscillated. Until some years ago natural Ni was also used in this rag (Bhatkhande [KPM II] 1952: 238). Today however musicians prefer to use only flat Ni. As evident from this recording, the  flat Ni is often oscillated and sounds sharper.  Musicians prefer to tune the first tanpura string in Ma instead of in Pa to reinforce Ma while performing this rag.

Some characteristic phrases:
D n S/m- g~R S
m P D \g~R- S

The upper tetrachord of Bageshri is similar to Rageshri (vide) except for Pa, which is omitted in this rag. Hence, movements such as m D n D \m and m D n S are common to both rag-s. However, the oscillated flat Ni of Bageshri makes it very distinct.

Time: late night (Bhatkhande [KPM II] 1952: 238)

Further listening:
Rajab Ali Khan ECLP 2618
Kishori Amonkar ECSD 2702
Siyaram Tiwari ECSD 2771
Ali Akbar Khan STCS 850233/34 HMV (Bageshri kanada)
D. V. Paluskar.

Parrikar on Bageshri

Performance by Padma Talwalkar

Composition: chhota khayal

गुन्दे लावो री मालनिया
देखी हरवा कर हू सिंगरवा
लागू गरवा
हस हस पिया को मनावू गावू
मंगल चार बंधावू नित उत करू काज

लगन मोरी लाग रही है
रजनी सजन उन िबन कैसे कटे अब
घडी घडी पल पल छिन छिन निस दिन
या ये काज

The song depicts the preparation being made to receive the loved one. The lady requests the flower girl for garlands to be made. She says that she will decorate herself and put her arms around him. Further, she will placate him with her smile and sing sacred songs. Without him, she wonders how the night will pass. Even the smallest moments appear long like a day and a night.

Tal: Medium: Tintal (fast tempo)

On the background of tanpura tuned to m S S S (lower) the exposition of this rag commences with a phrase R \n, where n is held with slight oscillations, typical to this rag
16-20: Sustain on the lower Dha
23-29: Oscillations on the lower flat Ni with a touch of lower Dha
40-46: Sa is held with a slight touch of the Ni which is clearly audible
52-56: Oscillations on Ga are similar to that noticed in case of Ni earlier. Note how the Ga merges in to Re, which is sustained with a slight touch of Sa in between, typical to this rag
65-70: Sustained Ma, the tanpura also is tuned in the same note
106-112: Now the melody reaches Dha, which is also held and then brought down to Ga
118-121: Similar pattern again
128-132: Re is sustained with a slight touch of Sa in between, typical to this rag
147-151: Oscillations on the middle octave Ni, phrase ending with D P m
156-160: Similar phrase with slight variation
161-164: Followed by a typical phrase – m P d \g ~
180-181: High re used as n R S, to land on the Ni, which is in focus
182-183: Touch of Pa for Dha, which is clearly audible
206-212: Dha is held, note the use of Pa – P D P, D n D \m
218-221: Again the typical phrase – m P d \g ~
236: The first part of the composition (sthayi) is presented, note the accentuated first beat (sam) coinciding with the high Sa, juxtaposing the low Sa just before. The refrain (mukhda) begins from 12th beat of the cycle
251: The second line takes off from the 14th beat, the third line (laagu garavaa) also starts similarly
275: The last line commences from the 6th (mangal)
298: The first part of the composition is repeated
348: Second part of the composition (antara) starts from the 2nd beat
396: Having presented the complete composition, further melodic exposition begins
399: Touch of Pa for Dha, which is clearly audible
408-411: Again the typical phrase – m P d \g

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