Raag Baagheshri is a melodic framework (raag) in South Asian classical music. It belongs to the Kafi thaat. Traditionally performed during the 21:00-23:59. It evokes a restful mood. The vadi (dominant note) is Madham and the samvadi is Kharaj. Stream 16 renditions of Raag Baagheshri on Saarey Music.
Raag Baagheshri depicts the emotions of a woman waiting to be reunited with her lover.
It is said that this was first sung by Mian Tansen, the court musician of the Mughal Emperor Akbar.
Known by many names: Baagheshri, Bageshri, Bageshwari, Vageshwari, it is a popular raag used in Carnatic compositions.
How to recognize Raag Baagheshri
Identify the parent scale. Raag Baagheshri belongs to the Kafi thaat — listening for the characteristic note pattern narrows the field.
Listen for the vadi. The dominant note is Madham, with the samvadi Kharaj supporting it. Emphasized in phrases and pauses, especially in the alap.
Note the time of performance. Raag Baagheshri is traditionally performed during the 21:00-23:59.
Feel the mood. Raag Baagheshri evokes a restful rasa — one of the clearest cues.
Raag Baagheshri is a melodic framework in South Asian classical music belonging to the Kafi thaat, traditionally performed during 21:00-23:59. It evokes a restful mood. Raag Baagheshri depicts the emotions of a woman waiting to be reunited with her lover.
It is said that this was first sung by Mian Tansen, the court musician of the Mughal Emperor Akbar.
Known by many names: Baagheshri, Bageshri, Bageshwari, Vageshwari, it is a popular raag used in Carnatic compositions.
Raag Baagheshri is traditionally performed during 21:00-23:59. In South Asian classical music, each raag is associated with a specific time of day or night, believed to enhance its emotional impact and resonate with the natural rhythms of that period.
For the most authentic experience, listen to Raag Baagheshri during 21:00-23:59. South Asian classical music theory holds that each raag resonates most powerfully at its designated time, aligning with the listener's emotional and physiological state during that period. However, great performances of Raag Baagheshri can be appreciated at any time.
Raag Baagheshri evokes a restful mood. In South Asian classical music, each raag is associated with a specific emotional quality (rasa) that the performer seeks to communicate through melodic phrases and ornamentations. The restful character of Raag Baagheshri is expressed through its particular combination of notes, emphasis patterns, and characteristic phrases (pakad).
Raag Baagheshri belongs to the Kafi thaat. A thaat is a parent scale in South Asian classical music from which raags are derived. The Kafi thaat provides the foundational note set that Baagheshri elaborates upon with its specific ascending and descending patterns.
The vadi (most important note) of Raag Baagheshri is Madham and the samvadi (second most important note) is Kharaj. The vadi and samvadi are the two dominant notes around which the raag's melodic phrases revolve, giving it its distinctive character.
