Kirwani vs Bageshri
A study guide for two raags that a cited source names as similar. Every field is cited; no musician has reviewed this comparison yet.
Side by side on the twelve swaras
Lit notes are each raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary's core swaraSwaraA musical note in Indian music. The seven names are Sa, Re, Ga, Ma, Pa, Dha and Ni; some have shuddha, komal or tivra forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary set. An arohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary, avarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary or pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary can add notes or touches outside it; play them to hear where the two raagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary part.
Raag Kirwani
Outlined: vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Pa · samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Sa
Tap a lit note to hear it · Synthesized for study — not a recording
Raag Bageshri
Outlined: vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Ma · samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Sa
Tap a lit note to hear it · Synthesized for study — not a recording
Kirwani
night (second praharPraharA roughly three-hour division used in traditional time-of-day associations for raags. These associations are conventions, not listening prohibitions.Source: N2 §2.2.10, p. 18. and 1 moreMore in the glossary of the night, about 9 pm–12 am)
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa Re ga Ma Pa dha Ni Sa'
Source: Artium Academy +3
- Artium Academy, Raag Kirwani page, aroha
- Raga Junglism, Kirwani page, Aroha
- Ragakosh, Raga Kirwani - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, aroha
- Raga Junglism / George Howlett, Kirwani | SRgmPdNS | Hindustani Raga Index | 365+ Ragas, aroha
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' Ni dha Pa Ma ga Re Sa
Source: Artium Academy +1
- Artium Academy, Raag Kirwani page, avaroha
- Ragakosh, Raga Kirwani - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, avaroha
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- Ma Pa Ni Sa Ni dha; Ni dha Pa ga Re
Source: Raga Junglism +1
- Raga Junglism, Kirwani page, Pakad
- Raga Junglism / George Howlett, Kirwani | SRgmPdNS | Hindustani Raga Index | 365+ Ragas, pakad
- VadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Pa
Source: Artium Academy +1
- Artium Academy, Raag Kirwani page, profile details
- Ragakosh, Raga Kirwani - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, vadi
- SamvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Sa
Source: Artium Academy +1
- Artium Academy, Raag Kirwani page, profile details
- Ragakosh, Raga Kirwani - Learn Thaat, Jaati, Time, Vadi, Samvadi, Aroh, Avroh, Pakad - Powered by Ragakosh, samvadi
Bageshri
Kafi thaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, midnight (third praharPraharA roughly three-hour division used in traditional time-of-day associations for raags. These associations are conventions, not listening prohibitions.Source: N2 §2.2.10, p. 18. and 1 moreMore in the glossary of the night, about 12–3 am)
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa ga Ma Dha ni Sa'
Source: Raag Hindustani / Sādhana +6
- Raag Hindustani / Sādhana, Linked scale image under corresponding raag heading; left ascent / right descent
- Swaranjali Music School, PDF page 17, labelled aroha; raw custom-font extraction decoded against page image
- Prabhāta Saṃgiita (article by Kirit), Raga Bageshri, labelled aroha
- Krsna Kirtana Songs, Raga facts, Aroha
- KalaSudha, Quick Facts / Technical Details, Aroha (Ascent)
- KalaSudha, Swara Notation banner; alternative to Technical Details
- Swaranjali Music School, PDF page 6, Baageshree synopsis, Aaroha; includes initial lower ni absent in p.17
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' ni Dha Ma Pa Dha ga Ma ga Re Sa
Source: Krsna Kirtana Songs +1
- Krsna Kirtana Songs, Raga facts, Avaroha
- Raag Hindustani / Sādhana, Linked scale image under corresponding raag heading; left ascent / right descent
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- Dha ni Sa / Ma - ga ~ Re Sa; Ma Pa Dha \ ga ~ Re - Sa
Source: AUTRIM
- AUTRIM, Bageshri page, characteristic phrases
- VadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Ma
Source: IGNOU BSKS-185 +6
- IGNOU BSKS-185, राग बागेश्री, वादी स्वर row; printed p.24
- Artium Academy, Raag Bageshree page, profile details
- Krsna Kirtana Songs, Raga facts, Vadi
- Rāga Junglism / George Howlett, Explicit vadi assertion in authorial description
- KalaSudha, Quick Facts / Technical Details, Vadi (King Note)
- Swaranjali Music School, PDF page 17, raag introduction, Vaadi
- Prabhāta Saṃgiita (article by Kirit), Raga Bageshri, labelled vadi
- SamvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary
- Sa
Source: IGNOU BSKS-185 +5
- IGNOU BSKS-185, राग बागेश्री, संवादी स्वर row; printed p.24
- Artium Academy, Raag Bageshree page, profile details
- Krsna Kirtana Songs, Raga facts, Samvadi
- KalaSudha, Quick Facts / Technical Details, Samvadi (Queen Note)
- Swaranjali Music School, PDF page 17, raag introduction, Samvaadi / Saunvaadi
- Prabhāta Saṃgiita (article by Kirit), Raga Bageshri, labelled samvadi
Why students confuse them
The Mewati interpretation is said to contain Bageshri shades, attributed by Howlett to Aarshin Karande.
Source: Raga Junglism
- Raga Junglism, Kirwani page, opening description
Study focus
Kirwani
Hear komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga, komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Dha and shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni together, and Re as a favoured resting note.
Bageshri
Lean on Ma and Sa. Oscillate komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga and komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni, and keep Pa out of the ascent.