Raag Bageshriबागेश्री
Sourced · not yet reviewed by a musician
Kafi thaat · Audav-Sampurna · Midnight
- Night
- Midnight
- Late night
Swaras and phrases
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
- 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
- 5 of 7 sources agree
- 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
- 2 of 7 sources agree
- 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
- 7 versions in 6 sources
About Bageshri
Bageshri leaves room for long elaboration. Sa and Ma are strong and Dha is held. Pa is left out going up and used sparingly coming down, 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 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 may be oscillated.
Also called Bagesri, Bageshree.
Source: ITC Sangeet Research Academy +1
- ITC Sangeet Research Academy, Samay Raga page, Bageshri, ‘About this raga’
- Artium Academy, Raag Bageshree page, title
Curriculum: Pracheen Kala Kendra's vocal syllabus prescribes it at Bhushan II.
Source: PKK
- PKK, printed p.5, list of prescribed raags
How it moves
AUTRIM says Pa is left out of the ascent. It does not give a full ascending scale.
Source: AUTRIM
- AUTRIM, Bageshri page, opening description
AUTRIM says Pa is used rarely in the descent and is often left out in fast passages.
Source: AUTRIM
- AUTRIM, Bageshri page, opening description
Learner focus
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.
Source: AUTRIM
- AUTRIM, Bageshri page, opening description
Caution
Pa may be left out in fast passages. Older accounts used 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; today 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 is described.
Source: AUTRIM
- AUTRIM, Bageshri page, opening description
Study prompts
Short exercises that restate what the cited sources say.
- Sing a rising phrase without Pa, then hold Ma.
- Sing Dha ni Sa, glide up to Ma, and 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 before Re Sa.
- Notice how rarely Pa appears in the descent, especially in fast passages.
Based on: Raag Hindustani / Sādhana +9
- 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
- AUTRIM, Bageshri page, characteristic phrases
- Krsna Kirtana Songs, Raga facts, Avaroha
- AUTRIM, Bageshri page, opening description
Variants
- Some musicians distinguish Bageshri from Bageshri Kanada.
Source: AUTRIM
- AUTRIM, Bageshri page, opening description
- Earlier descriptions allowed 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; AUTRIM says contemporary practice prefers 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. Pa is sparse and often avoided in fast passages.
Source: AUTRIM
- AUTRIM, Bageshri page, opening description
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 7 sources agree
- Jati5 of 6 sources agree
- Time6 of 9 sources agree
- Aroha5 of 7 sources agree
- Avaroha2 of 7 sources agree
- Pakad7 versions in 6 sources
- VadiAll 7 sources agree
- SamvadiAll 6 sources agree
Similar raags named by the sources
- Rageshri: Similar upper tetrachord and shared movements; oscillated 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 distinguishes Bageshri.
Source: AUTRIM
- AUTRIM, Bageshri page, description
Film songs
Film songs where a checked source names Bageshri. Each song shows whether a musician has reviewed it yet.
Archive recordings
Read the imported recording notes and view artwork in Ragapedia. Programme labels come from Raga Records and await independent musical review. Recovered audio is available in the listening collection. Complete CD audio remains pending.
RAGA-222 · CD
Zia Mohiuddin Dagar — Seattle, 1975 / 1979
Zia Mohiuddin Dagar (rudra vina)
Bageshree
Alap and jor · 1979
Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
Garlands for a loved one
AUTRIM's notes for Padma Talwalkar's Bageshri describe a woman asking a flower seller for garlands as she prepares to welcome her loved one. She imagines dressing up, embracing him and singing sacred songs, while wondering how she will endure the night without him.
Documented · Source: Padma Talwalkar performance: garland song and lyric explanation
Bageshri on the rudra vina
Raga Records pairs Zia Mohiuddin Dagar's rudra vina performance of Bageshri with one of Marwa. The credits date Bageshri to 20 April 1979 at the University of Washington in Seattle, and credit its master tape to the university's Ethnomusicology Archives.
Documented · Source: Raga-222: performer credit and BAGESHREE track listing · Source: Raga-222 Credits: recording dates and master-tape credit
Sources for this profile
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, jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary, time, 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, 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, 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 and 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 show the version the most independent publishers print; the sources page lists every version and who prints it. Other facts follow the source cited beside them. No musician has reviewed this profile yet.
- Bageshri: raag profileMusic in Motion: AUTRIM (NCPA and University of Amsterdam) · cited as AUTRIMRaag profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
- Samay Raga – The Time Theory of RagasITC Sangeet Research Academy · cited as ITC Sangeet Research AcademyPublic academy teaching page. robots.txt returned 404; no terms/automation restriction linked from the inspected home/page. Copyright retained: time facts are cited, prose paraphrased; fetched text is local evidence. This source is added only to raags for which it was not already used. Accessed 17 October 2026.
- Raag BageshreeArtium Academy · cited as Artium AcademyA private music academy's raag page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
- BSKS-185 संस्कृत छन्द और संगीत, Block 1, Unit 2 भारतीय संगीत का परिचयIndira Gandhi National Open University (eGyanKosh) · cited as IGNOU BSKS-185University self-learning material. All rights reserved: cited by locator and paraphrased, never reproduced. Accessed 7 October 2026.
- BagesriKrsna Kirtana Songs · cited as Krsna Kirtana SongsPublic educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and raga pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komal/andolan qualifier, retained in rawValue; normalized pitch remains komal. Accessed 17 October 2026.
- Raag Bageshri: Thaat, Time & Notes | KalaSudhaKalaSudha · cited as KalaSudhaPublic raga page. robots.txt allows this public path and excludes authenticated application paths; terms reviewed at /en-in/terms-conditions. All rights reserved: factual fields are cited, prose is paraphrased, fetched text retained for local audit only. No verbatim copying of the recorded core-field context was found in the compared already-used sources or KKSongs; attribution uncertainty is not a claim of original scholarship. Accessed 17 October 2026.
- Different Kinds of Ragas by Scale (thaat) - Raag HindustaniRaag Hindustani / Sādhana · cited as Raag Hindustani / SādhanaPublic teaching chapter; robots.txt returned 404 (no directives). Terms reviewed at /TermsofUse.html, with no automation ban found. Copyright retained: cite the factual field, paraphrase prose; text and linked notation image are local audit evidence only. Staff images were visually checked. No vadi, samvadi or pakad is inferred from the teaching examples. Accessed 17 October 2026.
- Praveshika Pratham: Syllabus and Theory / Raag IntroductionsSwaranjali Music School · cited as Swaranjali Music SchoolOpen school syllabus; robots.txt returned 404 and no restrictive terms link was found on the inspected school homepage. Copyright belongs to the school/Anjali Nandedkar: factual fields are cited; prose is paraphrased; original PDF and rendered pages are local audit evidence only. Music uses a custom Latin font: ladder rawValue retains the extracted glyph codes, while normalized values were checked against rendered pages. Superscript grace notes are parenthesized in value; the source’s dot and vertical-bar octave symbols are read using its own notation guide (Praveshika PDF pp.10–11). Accessed 17 October 2026.
- Indian Classical Music in Prabhāta Saṃgiita, by KiritPrabhāta Saṃgiita (article by Kirit) · cited as Prabhāta Saṃgiita (article by Kirit)Public teaching article. robots.txt returned 404, with no restrictive terms link found in the inspected page. No open licence assumed: cite factual fields, paraphrase prose; text is local audit evidence. The article explicitly defines lowercase re/ga/dha/ni as komal and lowercase ma as tivra; single trailing prime is lower octave, double quote is upper. Printed apparent musical errors are not corrected. Accessed 17 October 2026.
- Bageshri | SRgmPDnS | Hindustani Raga Index | 365+ RagasRāga Junglism / George Howlett · cited as Rāga Junglism / George HowlettOpen-access musician-authored Raga Index. robots.txt disallows filter-result paths, not this raga page; no separate restrictive terms link found on the inspected page/about page. No open reuse licence assumed. Cite factual melodic summaries; paraphrase prose. Quoted AUTRIM/Tanarang/Parrikar passages and attributed chalan are not new independent votes. Accessed 17 October 2026.
- Vocal Music syllabus: Prarambhik to BhushanPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.