Raag Bageshri

Raag Bageshri is a night raag with a hauntingly beautiful quality. It is from the Kafi Thaat family, shares Komal Ga and Ni with Kafi and Bhimpalasi, but has a completely distinct personality because of its unique treatment of specific notes.

The Basics

Thaat: Kafi

Jati: Shadav-Sampurna (6 notes in Aaroha, 7 in Avaroha)

Vaadi: Madhyam (Ma)

Samvaadi: Shadja (Sa)

Varjit Swars: Pancham (Pa) in Aaroha, Rishabh (Re) in Aaroha

Komal Swars: Gandhar (Ga) and Nishaad (Ni)

Time: Second Prahar of the night

Aaroha: ni Sa ga Ma Dha ni Sa 

Avaroha:  Sa ni Dha Ma Pa Dha Ma ga Re Sa

Pakad: Dha ni Sa Ma / ga Re Ma ga Re Sa

The Character

Bageshri is intimate, deep and contemplative. It is often described as having a quality of Shringaar (romantic love) and Karuna (compassion or pathos). Many of the most famous and beloved compositions in Indian classical music are in Bageshri.

The most distinctive feature of Bageshri is its treatment of Pa. Pa is omitted in Aaroha but appears in Avaroha in a very specific way: Pa is never rested upon and always moves in a curved, oblique manner (Pa Dha Ma or similar). This twisted use of Pa, present but not prominent, is one of the hallmarks of the raag.

The Dha-Ma (Dhaivat to Madhyam) combination is considered very important in Bageshri. Compositions frequently emphasize this movement.

Bageshri is also one of the raags where Nyaas on Ma is very strong, similar to Bhimpalasi. The connection to Ma as the Vaadi gives both raags a quality of emotional depth, though their characters are distinct.

The Exam-Ready Summary

Raag Bageshri

Thaat: Kafi

Jati: Shadav-Sampurna

Vaadi: Ma

Samvaadi: Sa

Varjit: Re, Pa in Aaroha

Komal: Ga, Ni

Time: Second Prahar of night

Aaroha: ni Sa ga Ma Dha ni Sa

Avaroha: Sa ni Dha Ma Pa Dha Ma ga Re Sa

Pakad: Dha ni Sa Ma / ga Re Ma ga Re Sa

Common Misconceptions

Bageshri and Bhimpalasi share the same Thaat, same Vaadi, same Komal Swars and the same time of performance. Students frequently confuse them. The key differences: Bageshri omits Pa in Aaroha (Bhimpalasi omits Re and Dha). Bageshri's Aaroha skips Pa and Re. Bhimpalasi's Aaroha skips Re and Dha. And Bageshri includes Dha prominently while Bhimpalasi treats Dha as weak. The Dha-Ma movement is Bageshri. The lower octave Ni beginning is Bhimpalasi. Keep those two anchors and you will not confuse them.

Quick Quiz

1. Which notes are omitted in Bageshri's Aaroha?

2. How is Pa used in Bageshri's Avaroha?

3. What Swar combination is considered most characteristic of Bageshri?

4. How do you distinguish Bageshri from Bhimpalasi?

5. What emotional quality is associated with Raag Bageshri?

Listening Task

Listen to Raag Bageshri and pay close attention to how Pa appears in the Avaroha. It sneaks in and curves away without ever settling. That evasive Pa is one of the most beautiful features of this raag. Notice the difference from the way Pa sits solidly in Bhimpalasi's Avaroha. Same note, completely different treatment, completely different effect. 🎵

PEACE ! 🎻