Raaga Bageshri

Raaga Bageshri

Theory:
- Iss raag mein Gandhar aur Nishaad swar komal hai. Baaki ke swar shuddh hai.
- Iss raag ke aroha mein Rishabh aur Pancham varjit (absent) hai.
- Gaane ka samay raatri ka doosra prahar (10pm to 1am)
- Raag ki prakriti karun-gambhir hai

Aaroha: Dha Ni Sa Ga Ma Dha Ni Sa
Avaroha: Sa Ni Dha, Ma Pa Dha, Ga Re Sa
Pakad: Dha Ni Sa Ma, Ga Re Sa

Swar-Malika:

[Taal: Teen taal]

Sthaayi:
| Sa Ma Ga Ma | - Ga Re Sa | Ma - Ma Ga | Ma Ga Re Sa |
| Dha Ni Dha Ni | Sa Ga Ma - | Ga Ma Ga Ma | Dha Ni Sa - |
| Dha Ni Sa Dha | - Ni Dha - | Ma Pa Dha Ga | - Re Sa - |

Antaraa:
| Ga - Ga Ma | - Ma Dha Ni | Sa - Sa Sa | Dha Ni Sa - |
| Sa Ga Sa Ma | Ga Re Sa - | Dha Ni Dha Sa | Ni Dha Ma - |
| Ma Ga Re Sa | Ni Dha Ma - | Ga Re Sa Ni | Dha Ma Ga - |
| Re Sa Ni Dha | Ma Ga Re - | Dha Ni Sa Ga | Ma - Dha Ni |
| Sa Ga Ma - | Dha Ni Sa Ga | Ma - Ma Ga | Ma Ga Re Sa |

Geet:
Taal: Teen Taal
Sthaayi:

सा॑ सा॑ नी॒ नी॒ । ध म प ध । ग॒ ग॒ रे सा । रे - सा - ।
अ॑ बु वा की । डा - र को । य लि या - । बो - ले - । (2)

ध़ ऩी॒ ध़ ऩी॒ । सा - म म । म ध नी॒ ध । ग॒ - रे सा ।
सु न सु न । हू - क उ । ठ त म न । मो - रे - ।


(9 10 11 12) | (13 14 15 16) | (1 2 3 4) | (5 6 7 8) [taal matra]
Antara:



ग॒ म ध नी । सा॑ - सा॑ - । नी॒ - सा॑ सा॑ । नी॒ सा॑ नी॒ ध ।
मो - र प । पी - हा - । शो - र म । चा - वे - ।

ग॒ म ध नी । सा॑रे॑ ग॒॔ रे॑ सा॑ । नी॒ - सा॑ सा॑ । नी॒ सा॑ नी॒ ध ।
मो - र प । पी - हा - । शो - र म । चा - वे - ।

ध नी॒ सा॑ सा॑ । म॑ ग॒॔ रे॑ सा॑ । नी॒ सा॑ - सा॑ । नी॒ सा॑ नी॒ ध ।
सु न सु न । वि र ह की । वय था - स । ता - वे - ।

ध ध - ध । नी॒ नी॒ ध म । ग॒ ग॒ रे सा । रे - सा - । (मधनी॒)
पि या - मि । ल न को - । जी या मो रा । डो - ले - ।

(9 10 11 12) | (13 14 15 16) | (1 2 3 4) | (5 6 7 8) [taal matra]

Raga Samay Chakra

The Raga Samay Chakra – Concept & Importance

In hindustani classical music, each raga has a specific time when it can be performed. The time of the raga usually depends on the vaadi swar and the anuvadi swars. This is because each raga, with its particular swar is more effective when performed at a particular time. This practice is supposed to enhance the ras (mood) of the raga that the artist is responsible for evoking. However, some of the ragas are seasonal in nature. For example ragas that belong to the Malhar category can be sung at any time during the monsoons. The traditional associations with the season are - Monsoon - Raga Megh, autumn - Raga Bhairav, winter - Raga Malkauns, Spring - Raga Hindol. The 24 hours of a day are divided into 2 parts From 12 AM to 12 PM - This is called Poorva Bhaag of the day and ragas sung in this period are called poorva ragas From 12 PM to 12 AM - This is called Uttar Bhaag of the day and the ragas in this period are called uttar ragas. The part of the saptak (octave) from Sa to Ma (Sa Re Ga Ma) is called poorvang (earlier part) of a raga and from Ma to higher octave (taar saptak) Sa (Pa Dha Ni Sa) is called uttarang (later part) of the ragas. Poorvang Vaadi raga : The ragas in which the vaadi swar lies in the poorvang are called poorvang vaadi raga. These ragas are rendered in the poorva bhag of the day i.e. 12 AM to 12 PM Uttarang Vaadi raga: The ragas in which the vaadi swar lies in the uttarang are called uttarangi vaadi raga. These ragas are sung in the uttar bhaag of the day i.e. 12 PM to 12 AM. If we know a vaadi swar of the raga we can estimate the time the raga will be rendered. The ragas in Hindustani classical music are divided in to 3 categories taking into account their swar (notes) and samay(time) 1. Ragas with Komal Rishabh and Komal Dhaivat These ragas are called sandhi prakash (dawn and dusk time) ragas and fall into two categories a : pratah kaalin sandhi prakash raga : ragas sung at dawn b : saayam kaalin sandhi prakash raga : ragas sung at dusk In sandhi prakash ragas Madhyam plays very important role. Most of pratah kaalin sandhi prakash ragas (dawn time) contain the shuddha Madhyam. E.g.  Raga Bhairav. Most of the sayam kaalin sanhdi prakash ragas (dusk time) contain teevra Ma  e.g. Raga Marwa. Also, in most of the sandhi prakash ragas, Rishabh is komal and Gandhar, Nishad are shuddha. Dhaivat can be komal or shuddha. 2. Ragas with Shuddha Rishabh and Shuddha Dhaivat The time at which these ragas are rendered is after the sandhi prakash ragas. They belong mainly to Kalyan, Bilawal, Khamaj thaat. After the pratah kaalin sandhi prakash ragas the influence of shuddha Rishabh and shuddha Dhaivat starts rising. Hence the ragas of this category are rendered from morning 7.00 to morning 10.00 and from evening 7.00 to evening 10.00. In this category Gandhar is essentially shuddha. In the morning 7.00 to 10.00 category Shuddha Madhyam is prominent e.g. Bilawal, Deskar In evening 7.00 to 10.00 categories Teevra Madhyam is prominent e.g. Yaman, Bhoopali 3. Ragas with Komal Gandhar and Komal Nishad these ragas are sung after the Shuddha Rishabh and Shuddha Dhaivat ragas. They are sung from morning 10.00 to afternoon 4.00 Eg. Asavari, Jaunpuri and night 10.00 to dawn 4:00 e.g.  Bageshree, Jaijaivanti, Malkauns. In these ragas Gandhar will surely be komal. The Rishabh and Dhaivat can be Shuddha or Komal. Importance of Madhyam with regards to the time of the raga. Normally, among the morning ragas the shuddha Madhyam is prominent. In the ragas with Komal Rishabh and Komal Dhaivat if shuddha Madhyam is prominent then they are called Pratah Kaalin Sandhi Prakash raga. Similarly among the evening ragas the teevra Madhyam is of prominence. Thus in the evening with the ragas such as Poorvi, Shree, Multaani, teevra Madhyam comes into use which goes on till the 2nd prahar of the night. At that time with ragas such as Bihaag, shuddha Madhyam starts getting prominent. In the pratah kaalin sandhi prakash raga, the ragas with the Shuddha Madhyam (Raga Bhairav, Kalingada) come first followed by ragas with both the Madhyams (Ragas Ramkali, Lalit). After this is the time to sing ragas with Shuddha Rishaabh and Shuddha Dhaivat. Shuddha Madhyam is prominent in these ragas (Raag Bilawal) Then comes the time for Komal Gandhar ragas. In this both the Madhyams are used. In some of them Shuddha Madhyam assumes prominence whereas in others Teevra Madhyam assumes prominence.