sunday online Riyaz session with guruji Sanjay dewale Raag Rageshree 25 dec, 2022

Описание: Raag Rageshree
Swar Notations
Swaras Rishabh and Pancham Varjya in Aaroh, Pancham Varjya in Avroh. Nishad Komal. Rest all Shuddha Swaras.
Jati Audhav - Shadhav
Thaat Khamaj
Vadi/Samvadi Gandhar/Nishad
Time (9 pm to 12 am): 2nd Prahar of the Night : Ratri ka Dwitiya Prahar
Vishranti Sthan G; m; D;
Mukhya-Ang ,n ,D ,n S ; G m R S ; G m D n D m ; G m R S;
Aaroh-Avroh S G m D n S' - S' n D m G m R S;

Raag Description: This is a very melodious Raag. In music literature, Raag Rageshree is said to have both Shuddha and Komal Nishads. But these days artists choose to sing Rageshree mostly with Komal Nishad and use Shuddha Nishad rarely.

In Avroh, S' n D m G R S may also be taken. However, these days S' n D m G m R S seems to be more popular. Madhyam is strong and D-G Sangati is Raag Vachak like: m G ; m D G ; G m n D ; G m R S. Sometimes in Aaroh, Rishabh is used as a Kan swar for Gandhar like: S G (R)G m R S.

Sometimes a varient of this Raag is sung using Pancham and is known as Pancham-Rageshree, like: G m P m G m R S ; S' n D m G m P m G m R S. However, this is very rarely heard these days. These are the illustrative combinations of the Raag:

S ,n ,D ,n S ; G m R ,n S ; G m D m ; D G m ; G m D n S' ; S' R' S' S' n D ; n D G m ; m G m R S ; D n S' ; D n S' R' S' n D ; m G R S ,n ,D ; ,D ,n S G m R S ;
Rageshree
Thaat Khamaj
Time of day 2nd prahar of night
Arohana Ḍ Ṉ̣ S G M D Ṉ Ṡ
Avarohana Ṡ Ṉ D M G M (G)\ R S
Pakad
G M D Ṉ Ṡ
Ṡ Ṉ D M G M R S
Vadi G
Samavadi Ṉ
Synonym
Rageshri
Rageshvari
Similar Bageshri
Rageshree is a raga in Indian classical music, popular in both Carnatic music and Hindustani music. It is from the Khamaj thaat. It is pentatonic in aaroha, hexatonic in

Rageshri Raag – Indian Music School
Rageshri Raag Description
Raga Rageshri (Rageshwari) is a Hindustani raga that has evolved and become popular in the past century. It has come to be known as the “Queen of Ragas”.

This Raag is a very melodious Raag. In music literature, Raag Rageshri is said to have both Shuddha and Komal Nishads. But these days artists choose to sing Rageshri mostly with Komal Nishad and use Shuddha Nishad very rarely.

In Avroh, S’ n D m G R S may also be taken. However, these days S’ n D m G m R S seems to be more popular. Madhyam is strong and D-G Sangati is Raag Vachak like: m G ; m D G ; G m n D ; G m R S. Sometimes in Aaroh, Rishabh is used as a Kan swar for Gandhar like: S G (R)G m R S.

Sometimes a varient of this Raag is sung using Pancham and is known as Pancham-Rageshri, like: G m P m G m R S ; S’ n D m G m P m G m R S. However, this is very rarely heard these days. These are the illustrative combinations of the Raag:

S ,n ,D ,n S ; G m R ,n S ; G m D m ; D G m ; G m D n S’ ; S’ R’ S’ S’ n D ; n D G m ; m G m R S ; D n S’ ; D n S’ R’ S’ n D ; m G R S ,n ,D ; ,D ,n S G m R S ;

The name Raageswari is a beautiful compliment to the musical scale this raga is based on. First it belongs to one of the most charasmatic set of notes of the Thaat Khammaj. The structure of the notes are so alluring that it has been one of the main “Go To” ragas for those light romantic moods. Raageshwari means “Queen of Ragas” named aptly so no doubt.
Another form of pakad utilized by some musicians is as follows
Rasa / Mood: Playful romantic moods are depicted in this raga frequently although this can quickly turn into moods of frustration, gloom and jealousy. All in all, a very expressive raga fitting it “Queen of Melody” title.
Comments/Hints: In some schools of thought, the Vadi and Samvadi notes are Ma/Sa
Chalan
G M R R S, R ‘n ‘D N S | ‘D ‘n S G| ‘N S ‘n ‘D S M G | M D N S’ n D M G, M G R S, ‘N S ‘D ‘n S G |

Search:
Thaat Khamaj
Vaadi/Samvaadi m/S
Prahar 6 (9 pm - 12 am)
Important Anuvaadi
Aaroha ’n-S-G-m-D-n-S’
Bhaav Shadj-Madhyam
Avaroha S’-n-D-G-m-R-S
Saptak-pradhaanata Madhya-Tar
Pakad G-m-D-n-S’-n-D-G-m-R-S-’n-D-S
Tanpura Tuning m
Jaati Audav-Shadav


Taala: Keharv
राग रागेश्री
स्वर लिपि
स्वर आरोह में रिषभ व पंचम वर्ज्य, अवरोह में पंचम वर्ज्य। निषाद कोमल। शेष शुद्ध स्वर।
जाति औढव - षाढव
थाट खमाज
वादी/संवादी गंधार/निषाद
समय रात्रि का द्वितीय प्रहर
विश्रांति स्थान ग; म; ध;
मुख्य अंग ,नि१ ,ध ,नि१ सा ; ग म रे सा ; ग म ध नि१ ध म ; ग म रे सा;
आरोह-अवरोह सा ग म ध नि१ सा' - सा' नि१ ध म ग म रे सा;

विशेष - यह बहुत ही मधुर राग है। संगीत शास्त्रों के अनुसार राग रागेश्री में निषाद शुद्ध और निषाद कोमल का प्रयोग बताया गया है। परन्तु वर्तमान में इस राग में सिर्फ कोमल निषाद ही उपयोग में लाया जाता है। और शुद्ध निषाद का प्रयोग बहुत ही अल्प रूप में दिखाई देता है।

अवरोह में सा' नि१ ध म ग रे सा लिया जा सकता है। लेकिन वर्तमान में सा' नि१ ध म ग म रे सा यह ज्यादा प्रचलन में हैं। इस राग में मध्यम प्रभावी स्वर है और धैवत-गंधार की संगती राग वाचक है जैसे - म ग ; म ध ग ; ग म नि१ ध ; ग म रे सा। कभी कभी आरोह में गंधार लगाते समय रिषभ का उपयोग कण स्वर के रूप में किया जाता है जैसे - सा ग (रे)ग म रे सा।