Rageshri

Over the years some changes have occurred in the melodic content of Rageshri (which is occasionally also called Rageshvari). Previously, both natural and flat Ni were included in this rag but gradually, it has become customary with the majority of musicians to use only the flat Ni (Thakur [Sangitanjali I-2] 1975: 82).

The recording presented here represents modern version of the rag.

Tone material : S R G m D n

The ascent avoids Re while it is included in a oblique manner in the descent – G m R S. In the absence of Pa, Ma is prominent and in fact the tanpura is tuned in Ma as well. Dha is an important frequent resting place, both in ascent and descent, and D \m and D \G are typical glides. Flat Ni can be sustained with oscillations, however the movement often ends either on Dha or Sa.

Some characteristic phrases:
S G – m \R S
G m D n D \m
G m /n D \m
R \n \D

The upper tetrachord of Rageshri is very similar to that of rag Bageshri (vide) except for the inclusion of Pa in Bageshri. However, the natural Ga in Rageshri gives it a distinct flavour. The lower tetrachord of Rageshri resembles that of rag Bhinna shadja. However, unlike Rageshri the latter uses natural form of Ni.

Time: late night (Bhatkhande [KPM V] 1974: 295)

Further listening:
Salamat and Nazakat Ali Khan EMCE 1007
Shivkumar Sharma ECSD 2784
Recording by Bade Ghulam Ali Khan
Recording by Kishori Amonkar
Recording by Shahid Parvez

Performance by Veena Sahasrabuddhe

Composition: chhota khayal

प्रथम सूर साधे
रटे नाम जो लो रहे
याही घट में प्रगट प्राण नादे

सप्त सूरन तीन ग्राम गुनीजन बखानत
अावन गावन को ध्य़ान विद्या कठीन
भेद पावे गुरुन संग साधे

This traditional composition is given in Sangitanjali (I-2) by Omkarnath Thakur  with two Ni-s. However, the recording presented here includes only flat Ni.

The song is about the divine art of music. The poet says that though the art is difficult, with the guidance from a Guru one can hope to understand its secrets.

Tal: Jhaptal

Performance:
4-13: Performance opens with a sustained Ni merging in to Dha below
15-22: Similar movement with Ni and Dha
52-64: Ga is sustained, followed by the characteristic concluding phrase G- m \R. Note the phrase ending on lower Dha
88-92: Ga sustained with touch Ma, which is clearly audible
94-96: Typical glide – D \m
112-116: Yet again, G- m \R S
134-141: Two typical glides following each other – D \m – D \G
186: Composition begins. Note the refrain including a characteristic phrase -S G- m \R
200: First line is repeated with variation
223: Second line
236: Concluding line of the first section (sthayi)
282-311: Elaborations around Ga and Ma
315: Now middle Dha is in focus. Note the glide D \G (316-318) and words of the composition being used for elaboration
337: Gradually higher notes are included as well
377-384: A movement with sustained middle Ni, phrase returning to lower Ni
383: Second part of the composition (antara)
410: Composition interspersed with elaborations including notes beyond Sa
439: Next line
451: Following line
475: Concluding line
513: Elaborations using words of the composition (bol alap). Note the use of shake (gamak)