MALLHAR

Raag Description :

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There are several names besides Bageshree for this Raag like: Bagesari, Bageshwari, Vageshwari etc. and also there are couple of options for Aaroh and Avroh. One Aaroh is already indicated above. According to some maestros, Rishabh and Pancham should be Varjya in Aaroh, which makes it Audhav-Sampurna.

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But, if we avoid both Rishabh and Pancham, Raag Shri-Ranjani makes its appearance. Hence, the use of Rishabh in Aaroh makes it different from Raag Shri-Ranjani and Raag Bheempalasi. In Raag Bheempalasi ,n S m g R S or S g m g R S is used. Thats why in Raag Bageshree, R g m g R S or S R g m ; m g R S, these notes seems to be more appropriate (hence the Jati is classified as Shadhav-Sampurna). ,n ,n S ; S m ; m P D m ; m g R S at once creates the Raag mood and the preponderance of D n S m ; m m g; g m D ; g m n n D ; m D n D; m P D m completes the format.

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This Raag is suitable for both types of Shringars namely Virah and Karuna. It is a melody that pleases in isolation and is effective in emotional expression.

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The illustrative combinations of Raag Bageshree are:
S R S ; ,n ,n S ; ,n ,D ; ,m ,D ,n ,D S; ,D ,n S m ; m g g R S ; ,n ,n S m ; m g ; m D n D m ; m P D m ; m g R S ; g m D S' D n D m ; D S' R' S' n D m ; m P D m ; m g R S ; g m D n D n S'; n S' n n R'; S' R' S' S'; R' S' n S' ; D n D S' ; m D ; D n D m ; m P D m ; m g R S ,n S ;