BAGESHREE..
Abhinav Jawadekar
> ( which IMHO sounds Perfect ). In the teachings of Bhatkhande school of
> music (Prayag Sangeet Samiti Allahabad ) also, pancham is used in this raga,
> however, sparingly.
>
> Does anyone have an absolute opinion / comments on this?
>
> Thanks.
> Archana.
.
Bageshri is a rag that is sung differently by different gharanas (at least
Pt. Jasraj says so on the Bageshri casset that he has cut.). My feeling
is that even various artists seem to sing Bageshri differently. Going still
further I would say that the Bageshri's sung by different artists (I have
listened to Bageshri's by Pt. Jasraj, Pt. Kishori Amonkar and Pt. Kumar
Gandharva very very carefully also many others), take the above three for
example, are different ragas that are very close to each other. i.e. they
should be called Bageshri-1, Bageshri-2, Bageshri-3 and so on. These artists
seem to be fighting over the name Bageshri!
I have found a similar thing even with Yaman. Some people take pancham in
the aroha as well as awaroha while some people take it only in awaroha.
Well, the same fight again!
If one really does some research on such kind of cases I am sure, there will be
1760 of these.
Abhinav
===============================================================================
Abhinav M. Jawadekar,
Engineer R&D (at Hoody),
Tata Elxsi India Ltd.
123, Richmond Road,
Bangalore 560025.
India.
Phone(office): 91-80-8452017
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Ramasubramanian Ramakrishnan
Here is some starting material from Subba Rao's book:
Hindustani
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Belongs to kafi (carnatic melakartha: karaharapriya) taht and uses: Tiwra Ri,
Komal Ga, Shuddha Ma, Tiwra Dha and Komal Ni.
There are three types of bAgEshrI according to the swaras used in the
aarohana, avarohana..
Type 1:
Aaroh: s m g m d n s
Avaroh: s n d m g r s
Type 2:
Aaroh: s r g m d n s
Avaroh: s n d m g r s
This type is also called shuddha bAgEshrI.
Type 3:
Aaroh: s r g m d n s
Avaroh: s n d m p d m g r s
Pa is used in a vakra fashion.
Some use tivra ni when halting on tara shadja. This sounds nice
and no harm is done to the rAgabhAvA.
In all types,
vAdi: Ma
samvAdi: Sa
The phrases "m d" and "m n" add beauty to the raga.
rAga Abhogi / Abhogi kanada ( came from carnatic abhogi) also resembles
bageshree. In abhogi, ni is dropped completely.
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* Subbarao also mentions that bahAr and carnatic rItigowlA are close to
some versions of bageshree.
* Avarohanam of this rAgA is not well captured in the above three versions.
I have heard phrases like "m p d g", "m d n d p g" which bring the beauty
of this rAgA out.
* Subba Rao's book does not talk about the carnatic version of bAgEshrI
The popular carnatic aarohanam and avarohanam are:
s g m d n s :: s n d m p d g m r s
* Yes, there are several versions of bAgEshrI in different gharAnAs. Type 2
for instance has exactly the same set of aarohanam and avarohanam as
carnatic shrIranjani. There is a strong bAgEshrE flavour even in this
version, which makes is sound very different from shrIranjani.
Purdue Dudes, remember that Subhasish Mukerjee's bAgEshrI?
- Subu
ChristianAMR
https://www.youtube.com/watch?v=ZMYAn0SdCEE
Hari He Mai Kaise Kar Aaun And Dertum Tanana Tanaderena - tarana in jhaaptaal
ChristianAMR
https://www.youtube.com/watch?v=FKTBykNQeW8 - Ustad Nazakat Ali khan and Ustad Salamat Ali Khan - drut w some layakari
ChristianAMR
A M
ChristianAMR
Can´t find any Hindustani renditions for both of these ragas .
ChristianAMR
However on the Carnatic side there is Bahudari : S G₃ M₁ P D₂ N₂ S / S N₂ P M₁ G₃ S