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Rāga Rageśrī

 

Ṭhāṭa : Khamaja

Jāti : auḍuva / ṣāḍav

Āroha /avaroha : Sa Ga ma Dha ni Ṡa / Ṡa ni Dha ma Ga ma Re Sa

Vādī / samvādī : Ga/ni

Prahara : 9 pm - 12 am

Pakaḍa : Sa Ga ma, Dha Ga ma, ma Ga Re Sa. (Abhinava Gītanjali)

Rageśrī is considered a recent raga. According to some musicologists (Kaufmann, Rao), its scale is composed of both komal and śuddha Ni. However, contemporary interpretations of this raga include only komal ni in āroha and avaroha. The movements of Rageśrī are similar to those of Bageśrī, but the strong presence of śuddha Ga, the total absence of Pa and the melodic line Ga ma Re Sa contribute to the the distinct character of this night raga.

Calana :  

Ḍha ṇi Sa Ga ma, Sa Ga ma Dha ma, Ga ma Dha ni Dha, Dha ni Ṡa ni Ṡa | Dha ni Ṡa Ġa,

Ġa ṁa Ṙe ni Ṡa, Ṡa ni Dha ma, Ga ma Dha ma, Ga ma Re ṇi Sa, Ḍha ṇi Sa.

 

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Ragesrī, vilambita tīntala - Jonathan Voyer, Uday Kulkarni
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Rageśrī Madhyalaya tīntāla - Jonathan Voyer, Uday Kulkarni
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Rageśrī Druta Tīntāla - Jonathan Voyer, Uday Kulkarni
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Textual references:

  • Bor, J. et al. (2002). The Raga Guide: A Survey of 74 Hindustani Ragas. Netherlands: Nimbus, Rotterdam Conservatory of Music, p. 20

  • Jha R. (2018). Abhinava Gītanjali, vol 2, pp. 164-165.

  • Kaufmann, W. (1968). The Rāgas of North India. Bloomington, London: International Affairs Center by Indiana University Press, pp. 216-217

  • Rao, B. S. (1968) Raganidhi: A Comparative Study of Hindustani and Karnatak Ragas, Volume Four. Madras: The Music Academy, Madras, p. 3-4

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About 
Note on Transliteration

This site was created by Jonathan Voyer as part of a postdoctoral research-creation project carried out with the collaboration of Pandit Satish Vyas and Dr. Maneesha Kulkarni, professor at the music department of Mumbai University. This project was funded by Fonds de recherche  du Québec (FRQSC).

We opted for transliteration rather than transcription.  We use the system of the "International Alphabet for Transliteration of Sanskrit" (IAST).Thus, the term " बंदिश " is transliterated into "bandiśa" and not transcribed into "bandish". All the transliterated terms are neutral and written in italics, with the exception of names (including the name of ragas, e.g. Ahīra Bhairava). The vowel "a" attached to the final consonants is preserved for uniformity. The terms already translated in English are written as such, we will read "raga" and not "rāga".

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