Raga Bageshri
Raga Bageshri: The Soulful Whisper of the Night
Raga Bageshri (also spelled Bageshree or Bageshri) is one of the most beloved and evocative ragas in Hindustani classical music. It is a raga of deep emotion — introspective, romantic, and quietly spiritual. Its haunting beauty has inspired generations of vocalists, instrumentalists, composers, and even film musicians to express a mood of longing, surrender, and soulful immersion.
1. Thaat and Classification
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Thaat: Kafi
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Jaati: Audav–Sampurna (5 notes in ascent, 7 in descent)
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Vadi (most prominent note): Madhyam (Ma)
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Samvadi (second-most prominent note): Shadaj (Sa)
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Time of performance: Late night (second prahar of the night – around 9 PM to midnight)
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Rasa (mood): Viraha (longing), Shringar (romantic devotion), Shanta (peaceful introspection)
2. Arohana and Avarohana (Scale)
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Arohana (ascending scale):
Ni (komal) – Sa – Ga (komal) – Ma – Dha – Ni – Sa' -
Avarohana (descending scale):
Sa' – Ni (komal) – Dha – Ma – Ga (komal) – Re – Sa -
Important Notes:
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Re (Rishabh) is omitted in ascent and used subtly in descent.
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Pa (Pancham) is absent in both ascent and descent, giving the raga its distinctively introspective character.
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3. Signature Phrases (Pakad)
A commonly heard pakad for Raga Bageshri is:
Ga (komal) Ma Dha, Ni Dha Ma, Ga Ma Re Sa
This phrase captures the fluid and curved movement of Bageshri and emphasizes the emotional slide between the komal Ga and Ma, which lies at the heart of its romantic expression.
4. Emotional and Spiritual Essence
Bageshri’s unique allure lies in its ability to portray viraha — the emotion of separated love. But it is not dramatic. Instead, it conveys a quiet, dignified yearning — a feeling of being deeply in love, yet inwardly composed.
Its late-night association lends it an introspective and meditative mood. This is not the raga of passionate outbursts but of internalized emotion, akin to a quiet conversation with the self or the Divine.
In the Bhakti tradition, Bageshri is often interpreted as the yearning of the soul (atma) for the Divine (paramatma), embodying madhur bhakti — a loving devotion toward the Lord in the form of a beloved.
5. Historical and Literary Origins
The origins of Raga Bageshri trace back to medieval India. Though its exact etymology is debated, some scholars believe it may have originated or gained prominence in the region of Bageshwar, a town in Uttarakhand — though this link is not confirmed.
The raga is mentioned in several ancient texts and musicological treatises, including:
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Sangita Ratnakara (by Sharangadeva)
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Raga Tarangini
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Sangeet Darpan
It has been a favorite in the Dhrupad, Khayal, Thumri, and Bhajan traditions for centuries.
6. Bandishes and Compositions
Raga Bageshri lends itself beautifully to both slow and medium tempo compositions. Many classical bandishes evoke the feeling of prem viraha (separation in love), nocturnal beauty, and gentle surrender.
Notable Khayal Bandishes
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"Ab to raho piya ghar aavan ki aas" (Vilambit)
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"Kaise sukh sowan aaye sajani" (Madhyalaya)
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"Jhan jhan baaje paayaliya" (Drut)
These bandishes often use bol alaap and bol taan to explore the expressive potential of lyrics intertwined with melodic movement.
7. Use in Light Classical and Film Music
The emotive power of Bageshri has made it immensely popular in:
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Thumri and Dadra styles
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Ghazals with themes of longing and midnight reflection
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Bhajans, where surrender and devotion are prominent
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Film music, where its sensuousness and introspection are highly valued
Iconic Film Songs Based on Bageshri
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“Jhanak jhanak tori baje payaliya” – Mere Huzoor
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“Chalte chalte yunhi koi mil gaya tha” – Pakeezah (partially inspired)
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“Jaag dard-e-ishq jaag” – Anarkali
These songs might not be pure Bageshri, but they draw heavily from its emotional and melodic motifs.
8. Raga Bageshri in Instrumental Music
Raga Bageshri has been a favorite among instrumentalists such as:
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Pandit Ravi Shankar (Sitar)
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Ustad Amjad Ali Khan (Sarod)
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Pandit Hariprasad Chaurasia (Bansuri)
The absence of Pancham and the soft use of komal swaras allow for meend-heavy, curved phrases, perfect for expressive instruments like the bansuri, sarangi, and violin.
9. Raga Bageshri and Carnatic Music
Bageshri has also made its way into Carnatic music, though less frequently. It is adopted from the Hindustani tradition and usually performed in lighter pieces or as a ragam in ragamalikas.
In Carnatic, it is sometimes equated with the janya raga of Kharaharapriya but retains its distinct Hindustani phrasing.
10. Interpretational Nuances and Performance Tips
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Slow unfolding: Bageshri must be developed patiently in vilambit alaap, allowing the raga to emerge like a blossoming flower.
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Delicate use of Ga and Ni: The komal Ga and komal Ni are to be rendered softly with andolan (delicate oscillation), creating emotional resonance.
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Avoid overuse of Re: Since Re is not present in the arohana, its sparing use in avarohana adds subtlety.
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Avoid Pa: The absence of Pa demands a higher focus on Ma and Dha to maintain the raga’s character.
11. Aesthetic Comparisons
Bageshri often evokes comparisons with other ragas due to its mood and note selection:
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Raga Rageshri: Shares similar notes but has Pa and a different movement
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Raga Deshkar: A morning raga, brighter in feel
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Raga Kafi: Parent thaat, but structurally more flexible and folk-oriented
12. Philosophical Interpretation
In the realm of Nada Yoga and spiritual music, Raga Bageshri is said to activate the Anahata Chakra (heart center), promoting love, compassion, and emotional healing.
Its late-night timing is aligned with the stillness of the universe — when the external world is quiet, and the inner world is most receptive to spiritual insight. Singing or listening to Bageshri at this hour becomes an act of inner communion.
Conclusion: The Eternal Call of Bageshri
Raga Bageshri is not merely a melodic structure — it is a state of being. It invites the performer and the listener into a world where emotion reigns gently, where longing is sacred, and where silence and sound coalesce into beauty.
Whether rendered in a slow khayal, a weeping thumri, or a midnight bansuri solo, Bageshri remains the raga of soft yearning and soulful surrender — an eternal whisper in the stillness of night.
by Suyash Gupta