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Raag Bageshree


Swaras Gandhar & Nishad  komal, rest all Shuddha Swaras
Jati Shadhav Sampurna vakra (P varjya in Aaroh)
Time 2nd Prahar of the night : Ratri ka Doosara Prahar
Vishranti Sthan S m D P - S' D m
Mukhya-Ang ,n S m S;  g m D S;  D ,n D m; m D ; m g ; m g R S 
Aaroh S R g m D n S' (Alternatively ,n S g m D n S')
Avroh S' n D m P D s m s g R S n S

Vishesh : There are several names besides Bageshree for this melody viz;  Bagesari, Bageshwari, Vageshwari etc. and so  also the options in Aaroh and Avaroha. One for the Aroha is already indicated above. According to some people R and P should vrjya in Aaroha. However several maestros suggests that this is a sampurna raag with weak P which may be eliminated in Aroha which is shadhav. If we avoid both  R and P the Raag Shri Ranjani make its appearance.

The raag is very suitable for both types of shirangaars. It is a melody that please in isolation without other noisy disturbances and is at once impressively effectively in emotional expression.

,n ,n S ; S m ; m P D S m ; m g R S ; at once creates the raag mood and the preponderence of D n S m ; m m g; g m D ; g m n n D ; m D n D; m P D s m completes the format. Occassionally one may employ n S; R m P D n D S m ; P D m P g ; m g R S ,D ,n S ; S S m m g R S ; But this will disturb the raag mood, hence this is followed quickly with n D S  m ; m P D m S g S R S for eliminating tirobhav with aavirbhav.
In tirobhav the raag format is droolong and it freshens and builds up again by aavirbhav. Illustrative combinations are:
S R S s ; ,n ,n S s ; ,n ,D ; ,m ,D ,n ,D S;  ,D ,n S m ; m mP mg g R S; ,n ,n S m ; m g; m Dn D s M ; m P m P D s m ; m g R S ; G m D S D n D m ; Rm PD n PD Pn ; D S' R' S' n D m ; m P D S m ; m g R S ; gm Dn DnS; nS n n R; S, R; S S; r' S' n S' ; D n D S ; m D ; D n D s m ; m P D s m ;  m g R S ,n S;