3 Concept of Raga in SGGS

International Online Peer Review Refreed Research Journal
TRIVAINI SANGEETAK KHOJ PATRIKA

{Bi-Annual}, ISSN 2700-2926 (Online), Volume-I, Issue-I, January-June 2020
Concept of Raga in Guru Granth Sahib: A Divine Approach
Dr. Tajinder Pal Singh
Assistant Professor,
P.G. Department Of Music Vocal,
Khalsa College, Patiala.
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Abstract
Sri Guru Granth Sahib, the holy text, is the supreme authority in Sikhism which is
considered to be the living guru after the lineage of ten gurus starting from the first guru, Sri
Guru Nanak Dev till the tenth guru, Guru Gobind Singh. The composition of Sri Guru Granth
Sahib includes the valuable teachings in the form of mystic hymns of thirty six contributors
(six of Sikh gurus and thirty saints from different regions and religions) and comprises of
1430 pages in total. These religious teachings are classified under different ragas which
might have prevalent by then. In short the gurus have directed us to sing these hymns in the
prescribed ragas so that there divine faith can be revealed more effectively among the masses.
The aim of writing this paper is to appreciate our rich heritage and culture preserved through
this art form, but also with an objective to explore the traditional music of Sikhism, popularly
known as The Sikh Music, Gurbani Kirtan or Gurbani Sangeet. Hence, an attempt has been
made to study the important components and elements of the Sikh music along with the ragas
according to their aesthetic mood as mentioned in the holy Sri Guru Granth Sahib.
Keywords: Sri Guru Granth Sahib, Ragas, Hymns, Gurbani Sangeet, Aesthetics.
Indian Classical Music, often known as Hindustani ShastriyeSangeet is a wonderful

gift to mankind awarded by the Supreme power, the omnipotent, the creator, God. In case we
look into history, it can be seen that Hindustani Classical Music has its origin from the Vedic
texts, Upanishad, holy hymns. With the passage of time it established itself in northern India
by 13th and 14th century through the spiritual recitals, folk and social dramatic performances.
No doubt, that the seed of Indian classical music can be traced from the oldest scriptures of
the Hindu Tradition i.eSamveda, which discusses Hindustani music at a great length, No
doubt,Indian classical music has a long and rich tradition which has kept alive the values and
culture of our country that got evolved through countless musical interactions between
Musicians of diverse cultures and religion.
Indian classical music is full of devotion that aims to make mankind closer to the almighty, to
provide them with inner happiness, satisfaction and also to help them to reach at a stage of
self- realization or salvation.
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Website: www.tskp.in Email: trivainikhojpatrika@gmail.com ISSN-2700-2926 (Online)90
The Ancient Period (100-1200 AD)
The ancient treatise named “Natyashastra” written by Bharat Muni, is the first and
reliable text to be considered as the foremost granth on musicology. This treatise includes the
three art forms i.e. music, dance and theatrical music in dramatic performances 1. It also gives
a detailed description of different scales used in Indian classical music- shadajgrama,
madhyamgrama, gandhargrama.
The Medieval Period(1200-1800AD)
This period has witnessed one of the most important writing of Pt. Sarangdev i.e.
SangeetRatnakar. SangeetRatnakar explains the musical development right from the period of
Bharat Muni. His work discusses all about vocal techniques, including shadajgrama,
madhyamgrama with its musical modes. He gave a detailed explanation about Shrutis and
classified them into 22 equal divisions which leads to the formation of an octave.
Later, with the entry of foreign invaders, especially the Mughals, who entered from the
northern part of the country, brought many changes in the society that ultimately effected the
ongoing musical trends of that era. Mughals, who strictly followed Islam, never encouraged
and appreciated this finest art form but few kings like Allauddin Khilji patronized their court
musicians including Amir Khusro who contributed immensely in the field of music. Many
compositions were written and composed by him in the praise of his mentor (Murshad),
Hazrat Nizamuddin Aulya. He popularised the musical forms like Khayal, Tarana Qawali
and created few taals e.g. (Farodast, Theka qawali Jhoomra) and instruments like sitar, dhol
etc. resulting the establishment of Hindustani Music around the country which later got
divided into Northern classical music and Carnatic music.
Rise of the Sikh Music
Sikh Music came into existence with the rise of the mystic views of Guru Nanak in
late 15th century. This mystical poetry of Guru Nanak was delivered to a common man
through the means of music. Bhai Mardana an early follower of Guru Nanak accompanied
him on string instrument called Rabab. Carrying this legacy forward, all the Sikh Gurus sang
in the praise of almighty and chose music as a medium to convey the divine message to the
masses. The music included the then- prevalent classical and folk styles, accompanied by
string and rhythmic instruments. This unique blend consisted of holy hymns termed as Bani,
was of the utmost significance, also the music played an important and supporting role with
it. The Masters, no doubt, directed us to sing the hymns in the prescribed ragas mentioned in
the Sikh sacred scripture, Adi Granth. The Adi Grath, commonly known as Guru Granth, is
the holy scripture of Sikhs that explains the teaching of Guru Nanak and the other Gurus.
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Later in (1666-1708), the tenth Guru, Guru Gobind Singh confirmed the sacred text Adi
Granth as his successor so this holy text is officially regarded as the final and eternal Guru of
the Sikhs.
Ragas mentioned in Sri Guru Granth Sahib Ji
A raga is a complex structure of musical notes and is considered to be a unique
feature of Indian classical music. It follows certain rules and regulations can creates a melody
which ignites a certain mood in the vocalist and the listeners. Every Raga has a separate
aesthetic form and mood which can be perceived by the listeners. The Holy Scripture, Guru
Granth Sahib ji is classified into a number of sixty ragas (few classify then it into sixty two
ragas). The list of the Ragas which are mentioned in Sri Guru Granth Sahib ji is as follows.
Aasa, Gujri, Gauri Deepki, Dhanasri, Gauri Poorbi, Siri, Maajh, Gauri Guarairee, Gauri,
Gauri Dakhni, Gauri Chaitee, Gauri Bairagan, Gauri Poorbi Deepki, Gauri Maajh, Gauri
Malva, Gauri Mala, Gauri Sorath, Aasa Kaafi, Asavari, Aasa Asavari, Devgandhari,
Bihagra, Vadhans, Vadhans Dakhni, Sorath, Jaitsri, Todi, Bairarri, Tilang, Tilang Kaffi,
Suhee, Suhee Kafi, Suhee Lalit, Bilaval, Bilaval Dakhani, Gound, Bilaval Gound, Ramkali,
Ramkali Dakhani, Nat Narayan, Nat, Malli Gaura, Maru, Maru Kaffi, Maru Dakhni,
Tukhari, Kedara, Bhairo, Basant, Basant Hindol, Sarang, Malar, Kanhda, Kaliyan, Kaliyan
Bhopali, Parbhati Bibhas, Parbhati, Parbhati Dakhani, Bibhas Parbhati, Jaijavanti2.
The Sikh Gurus used these Ragas to create a proper mood, Although Ragas used in
Indian Classical Music follow a system of time theory but here in the case of Gurbani
sangeet, ragas are not restricted to a particular time. Thus, the state of mind can be created
with the help of these ragas at any time. Every Raga sets a particular mood for the hymn
hence adding a profound meaning to it. According to the different moods an explanation of
these ragas along with the few hymns have been given as under which is a result of my own
observations and experiences in the concerned subject moreover the available sources and
literature written by Sikh Kirtankars, e.g. Bhai Surinder Singh (U.K) academicians and
scholars have been reviewed and analysed. It may or may not be acceptable to all the readers.
This subject may draw attention of the other researchers who wish to explore this topic
through other aspects.
1) Raag Aaasa : This Raag comprises of strong emotions related to courage and inspiration. It
motivates the listeners to keep all the unnecessary justifications aside which divert the
attention from their ambition and make them move forward to achieve their aim. It provides
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the inner strength even in the difficult times to get success. This Raag ensures the listeners
that defeat is not an option and inspires the listeners to gain strength for their success.
so dru rwgu Awsw mhlw 1 <> siqgur pRswid ]
so dru qyrw kyhw so Gru kyhw ijqu bih srb smwly ] vwjy qyry nwd Anyk AsMKw kyqy qyry vwvxhwry ] kyqy
qyry rwg prI isau khIAih kyqy qyry gwvxhwry ] gwvin quDno pvxu pwxI bYsMqru gwvY rwjw Drmu duAwry
] gwvin quDno icqu gupqu iliK jwxin iliK iliK Drmu bIcwry ] gwvin quDno eIsru bRhmw dyvI sohin
qyry sdw svwry ] gwvin quDno ieMdR ieMdRwsix bYTy dyviqAw dir nwly] gwvin quDno isD smwDI AMdir
gwvin quDno swD bIcwry ] (8)3
2) Raag Gujri : This Raag makes the listeners understand the value of time which is passing
very quickly. It reveals the listeners the utter truth of their death and fatality so that they can
utilize the remaining time perfectly. The perfect example of this Raag is life of a person
holding water in his cupped hand and it is only then the person realize the value of water
when it begins to seep slowly through his hands.
rwgu gUjrI mhlw 5 ]
kwhy ry mn icqvih audmu jw Awhir hir jIau pirAw ] sYl pQr mih jMq aupwey qw kw irjku AwgY
kir DirAw ]1] myry mwDau jI sqsMgiq imly su qirAw ] gur prswid prm pdu pwieAw sUky kwst
hirAw ] (10)4
3) Raag Gauri Deepaki: In Guru Granth Sahib there is hymn under this Raag and in this
hymn, Sohila is a lullaby (lorrie) which is kind of bedtime story from a mother to her child
comfort and also shares her past experiences and knowledge. This Raag bring out enthusiasm
or passion and security. It also acquaint the listeners with the deep reality of darkness so that
listeners can gain the truth. It gives the feeling of fearlessness, certainty and new hopes.
soihlw rwgu gauVI dIpkI mhlw 1 <> siqgur pRswid ]
jY Gir kIriq AwKIAY krqy kw hoie bIcwro ] iqqu Gir gwvhu soihlw isvirhu isrjxhwro ]1] qum
gwvhu myry inrBau kw soihlw ] hau vwrI ijqu soihlY sdw suKu hoie ]1] rhwau ] inq inq jIAVy
smwlIAin dyKYgw dyvxhwru ] qyry dwnY kImiq nw pvY iqsu dwqy kvxu sumwru ] (12)5
4) Raag Dhanasari: This Raag gives the optimistic approach to the listeners towards the
future. Dhanasari is a sense of being fully careful.
rwgu DnwsrI mhlw 1 ]
ggn mY Qwlu riv cMdu dIpk bny qwirkw mMfl jnk moqI ] DUpu mlAwnlo pvxu cvro kry sgl
bnrwie PUlµq joqI ] (13)6
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5) Raag Gauri Purbi: Gauri Purbi includes the strong feelings of experiences and also
motivates the listeners for the preparations to achieve more. Despite there are strong emotions
in the Raag, there is a sense of heartfelt request to achieve the desired goal. The emotions of
this Raag are taken as evaluation of the circumstances, without excess helplessness.
mhlw 4 gauVI pUrbI ]
hir dieAwil dieAw pRiB kInI myrY min qin muiK hir bolI ] gurmuiK rMgu BieAw Aiq gUVw hir
rMig BInI myrI colI ] (168)7

6) Raag Siri : The basis of this Raag marinate in the customs of primary Indian classical
music. This Raag is thought provoking where the listeners is provoked to be thoughtful for
the advice given there in the mind of the listeners is made familiar with the truth of the
message and educate to give strength to face the future with the experience gained and with
modesty.
<> siqgur pRswid ] rwgu isrIrwgu mhlw pihlw 1 Gru 1 ]
moqI q mMdr aUsrih rqnI q hoih jVwau ]
ksqUir kuMgU Agir cMdin lIip AwvY cwau ]
mqu dyiK BUlw vIsrY qyrw iciq n AwvY nwau ] (14)8
7) Raag Majh: Raag Majh was composed by the fifth Sikh guru ( GuruArjanDevji). Punjabi
folk music is the fountainhead of this Raag . The emotions expressed in this Raag have often
been compared to that of a mother waiting for her child to return after long period. Although
she is aware of the uncertainty of her child return, at the same moment she has hope for
child‟s return. This Raag present the strong emotions of love highlighted by the pain of
separation.
mwJ mhlw 4 ]
mDusUdn myry mn qn pRwnw ] hau hir ibnu dUjw Avru n jwnw ]
koeI sjxu sMqu imlY vfBwgI mY hir pRBu ipAwrw dsY jIau ] (94)9
8) Raag Gauri Guarairi: The message of this Raag, that is the mixture calmness and control is
open and truthful in its approach. The feelings are conveyed through very disciplined way.
The focused and balanced character of this Raag is clear that is its structure is restricted to
„madh-saptak(middle scale)‟.
gauVI guAwryrI mhlw 3 ]
gur qy igAwnu pwey jnu koie ] gur qy bUJY sIJY soie ] gur qy shju swcu bIcwru ] gur qy pwey mukiq
duAwru ] (157)10
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9) Raag Gauri: This Raag encourages the listeners to work harder to achieve the ambition. It
keeps the ego under control and listener is encouraged to prevent him becoming self
important and arrogant.
gauVI mhlw 1 ]
pauxY pwxI AgnI kw mylu ] cMcl cpl buiD kw Kylu ]
nau drvwjy dsvw duAwru ] buJu ry igAwnI eyhu bIcwru ] (152)11
10) Raag Gauri Dakhani: This South Indian style of this Raag including Taal(rhythm)
emphasize the strict and disciplined facets of Gauri.
gauVI mhlw 1 dKxI ]
suix suix bUJY mwnY nwau ] qw kY sd bilhwrY jwau ] Awip Bulwey Taur n Twau ] qUM smJwvih myil
imlwau ]1] nwmu imlY clY mY nwil ] ibnu nwvY bwDI sB kwil ] (152)12
11) Raag Gauri Chayti: This Raag generates the feeling of fear to make the listeners aware
that what can happen if they lose the thing which they take for granted. It evokes the feeling
of regret and panic by exposing the disastrous outcome as a warning.
gauVI cyqI mhlw 1 ] AauKD mMqR mUlu mn eykY jy kir idRVu icqu kIjY ry ] jnm jnm ky pwp krm ky
kwtnhwrw lIjY ry ] (156)13

12) Raag Gauri Bairagan: Gauri Bairagan is a Raag of bairag (pain of separation). The
listeners is left to feel an intense feeling of pain and emptiness . However the balance of Raag
assure that pain and emptiness motivates the listeners to find what actually is missing.
gauVI bYrwgix mhlw 1 ]
rYix gvweI soie kY idvsu gvwieAw Kwie ] hIry jYsw jnmu hY kaufI bdly jwie ] (156) 14
13) Raag Gauri Purbi Deepaki: This Raag emphasize on self evaluation with a positive
approach of improvement. It creates the environment of constant progress with experience
and confidence.
gauVI pUrbI dIpkI mhlw 1 <> siqgur pRswid ]
jY Gir kIriq AwKIAY krqy kw hoie bIcwro ] iqqu Gir gwvhu soihlw isvrhu isrjxhwro ] (157)15
14) Raag Gauri Majh: This Raag well-planned emotional act which reaches to accomplish the
longing created by Raag. This longing is as same as of Raag Majh‟s hope, contemplation and
grieve. It is created knowingly to influence the listener to react to the yearning.
gauVI mwJ mhlw 4 ]
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Awau sKI gux kwmx krIhw jIau ] imil sMq jnw rMgu mwixh rlIAw jIau ] gur dIpku igAwnu sdw
min blIAw jIau ] hir quTY Fuil Fuil imlIAw jIau ] (173)16
15) Raag Gauri Malva: Punjabi folk music based this Raag is influenced by the
„malva‟region. The love of this Raag is very serious yet it can be regarded as a true friend‟s
careful advice. This Raag convince the listeners in such a manner that it becomes impossible
for the listener to disagree even if the listener does not like the given advice.
rwgu gOVI mwlvw mhlw 5 <> siqgur pRswid ]
hir nwmu lyhu mIqw lyhu AwgY ibKm pMQu BYAwn ]1] rhwau ] syvq syvq sdw syiv qyrY sMig bsqu hY
kwlu ] kir syvw qUM swD kI ho kwtIAY jm jwlu ]1 (214)17

16) Raag Gauri Mala: The soul of Gauri Mala is the combination of pure, good and positive
thoughts which are added collectively one by one. It evokes the feeling of hard work,
enthusiasm, which encourages more loyalty towards truth.
gauVI mwlw mhlw 5 ]
pwieAw lwlu rqnu min pwieAw ] qnu sIqlu mnu sIqlu QIAw sqgur sbid smwieAw ]1] rhwau ]
(215)18
17) Raag Gauri Sorath: This Raag has specific feeling of attraction and appeal which
cultivates attention in listeners towards the target. It provides the sense of duty and realization
to obey the given warning.
gauVI BI soriT BI ]
ry jIA inlj lwj quoih nwhI ] hir qij kq kwhU ky jWhI ]1] rhwau ] jw ko Twkuru aUcw hoeI ] so
jnu pr Gr jwq n sohI ]1] so swihbu rihAw BrpUir ] sdw sMig nwhI hir dUir ] (330)19
18) Raag Aasaa kafi: Aasaa kafi creates a carefree environment. This Raag evokes the
emotions boundless enthusiasm along with the past experiences which inspires a lot to the
listeners.
Awsw Gru 8 kwPI mhlw 3 <> siqgur pRswid ]
hir kY BwxY siqguru imlY scu soJI hoeI ] gur prswdI min vsY hir bUJY soeI ]1] mY shu dwqw eyku hY
Avru nwhI koeI ] gur ikrpw qy min vsY qw sdw suKu hoeI ] (365)20
19) Raag Asavari: Asavari has a nature of enthusiasm and real energy which influence the
listeners to complete the tasks.
rwgu AwswvrI Gru 16 ky 2 mhlw 4 suDMg <> siqgur pRswid ]
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hau Anidnu hir nwmu kIrqnu krau ] siqguir mo kau hir nwmu bqwieAw hau hir ibnu iKnu plu rih
n skau ]1] rhwau ] hmrY sRvxu ismrnu hir kIrqnu hau hir ibnu rih n skau hau ieku iKnu ] jYsy
hMsu srvr ibnu rih n skY qYsy hir jnu ikau rhY hir syvw ibnu] (369)21
20) Raag Aasaa Asavari: Aasaa Asavari provides a strong sense of capability in a listener to
achieve the desired goal. It also provides the assurance for the achievement of goal with full
confidence, courage and love. It brings out best of the personality providing necessary
knowledge to an individual.
AwswvrI mhlw 5 ]
mnsw eyk mwin hW ] gur isau nyq iDAwin hW ] idRVu sMq mMq igAwin hW ] syvw gur crwin hW ]
qau imlIAY gur ik®pwin myry mnw ] (409)22
21) Raag Devgandhari: It provides the feeling of satisfaction which is the result of
achievement we achieve. It gives the listener empowerment to do more and to curtail the
lethargy. This feeling of satisfaction gives the listener extreme happiness and leaves him in
with the sense of being the part of heaven.
dyvgMDwrI mhlw 5 Gru 2 <> siqgur pRswid ]
mweI gur crxI icqu lweIAY ] pRBu hoie ik®pwlu kmlu prgwsy sdw sdw hir iDAweIAY ]1]rhwau]
AMqir eyko bwhir eyko sB mih eyku smweIAY ] Git AvGit rivAw sB TweI hir pUrn bRhmu idKweIAY
] (428)23
22) Raag Bihagara: The nature of this Raag is that of extreme pain and sorrow which increase
the need to find understanding and peace.
rwgu ibhwgVw mhlw 9 ]
hir kI giq nih koaU jwnY ] jogI jqI qpI pic hwry Aru bhu log isAwny ] (537) 24
23) Raag Vadhans: It is based on Punjabi Folk music. This Raag incubates in the cultures of
„Ghoreea‟, „Suhag‟ and „Alohnian‟. The emotions inculcate by this Raag can be compared to
those of a bride on her wedding. She is sad and happy. Though she is going to her groom
with hope and joy, there is also a feeling of sadness of leaving her family.
vfhMsu mhlw 3 ]
ndrI sqguru syvIAY ndrI syvw hoie ] ndrI iehu mnu vis AwvY ndrI mnu inrmlu hoie ]1] myry mn
cyiq scw soie ] eyko cyqih qw suKu pwvih iPir dUKu n mUly hoie ] (558)25
24) Raag Vadhans Dakhani: The nature of this Raag is similar to Raag Vadhans, howbeit due
to its South Indian style of expression, it is more disciplined in its nature.
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vfhMsu mhlw 1 dKxI ]
scu isrMdw scw jwxIAY scVw prvdgwro ] ijin AwpInY Awpu swijAw scVw AlK Apwro ] duie puV
joiV ivCoiVAnu gur ibnu Goru AMDwro ] sUrju cMdu isrijAnu Aihinis clqu vIcwro ] (580)26
25) Raag Sorath: Sorath conveys the feeling of strong belief in something that you keep on
rehearse the experiences. In reality this emotion of certainty is so powerful that you start
living in that belief. The atmosphere of this Raag is so strong that even an unresponsive
listener will be fascinated.
soriT mhlw 1 Gru 1 ]
mnu hwlI ikrswxI krxI srmu pwxI qnu Kyqu ] nwmu bIju sMqoKu suhwgw rKu grIbI vysu ] Bwau krm
kir jMmsI sy Gr BwgT dyKu ] (595)27
26) Raag Jaitsiri: It gives the emotion of not being able to live without someone. It is
engrossed with the feeling of dependence and amazing sense of badly reaching out to be with
someone.
jYqsrI mhlw 4
hIrw lwlu Amolku hY BwrI ibnu gwhk mIkw kwKw ] rqn gwhku guru swDU dyiKE qb rqnu ibkwno lwKw
]1] myrY min gupq hIru hir rwKw ] dIn dieAwil imlwieE guru swDU guir imilAY hIru prwKw ]
(696)28
27) Raag Todi: This Raag comprises both modesty and wisdom. Through these sentiments
the Raag takes a simple attitude to explain the things which we fail to consider and explain
with such an assurance that listener is forced to agree.
tofI mhlw 5
mwnuKu ibnu bUJy ibrQw AwieAw ] Aink swj sIgwr bhu krqw ijau imrqku EFwieAw ] rhwau ]
Dwie Dwie ik®pn sRmu kIno iekqR krI hY mwieAw ] dwnu puMnu nhI sMqn syvw ikq hI kwij n AwieAw
] (712)29
28) Raag Bairari: Raag Bairari arouse the expression of refining the task which has already
been fulfilled and it evokes a hunger and desire to progress to the next level.
bYrwVI mhlw 4 ]
jip mn rwm nwmu insqwrw ] kot kotMqr ky pwp siB KovY hir Bvjlu pwir auqwrw ]1] rhwau ]
kwieAw ngir bsq hir suAwmI hir inrBau inrvYru inrMkwrw ] hir inkit bsq kCu ndir n AwvY
hir lwDw gur vIcwrw ] (720)30
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29) Raag Tilang: Tilang consist the feeling that when trying to impress someone dear your
efforts has been unappreciated. Here the atmosphere is not an agony but of ruminating
because the person you are trying to impress is someone dear to you.
iqlµg mÚ 1 ]
ieAwnVIey mwnVw kwie kryih ] AwpnVY Gir hir rMgokI n mwxyih ] shu nyVY Dn kMmlIey bwhru ikAw
FUFyih]BY kIAw dyih slweIAw nYxI Bwv kw kir sIgwro] qw sohwgix jwxIAY lwgI jw shu Dry ipAwro]
(722)31
30) Raag Tilang Kafi: This Raag also contains same feelings that your effort has not been
appreciated when trying to impress someone but unlike the Raag Tilang here the person
remains undisturbed by this expression. This aspect arises due to deep love with the
concerned being which prevents anger to become the part of an individual.
iqlµg mhlw 9 kwPI <> siqgur pRswid ]
cyqnw hY qau cyq lY inis idin mY pRwnI ] iCnu iCnu AauD ibhwqu hY PUtY Gt ijau pwnI ]1] rhwau ]
hir gun kwih n gwvhI mUrK AigAwnw ] JUTY lwlic lwig kY nih mrnu pCwnw ] (726)32
31) Raag Suhi: It is an expression of such affection that the listener experiences undying love
and utmost closeness. The listener is overwhelmed with love and understands what to
cherish.
sUhI mhlw 1 Gru 2 <> siqgur pRswid ]
AMqir vsY n bwhir jwie ] AMimRqu Coif kwhy ibKu Kwie ]1] AYsw igAwnu jphu mn myry ] hovhu cwkr
swcy kyry ]1] rhwau ] igAwnu iDAwnu sBu koeI rvY ] bWDin bWiDAw sBu jgu BvY ] (728)33
32) Raag Suhi Kafi: It conveys the feeling of security and deep love, like that of a parent and
a child. For example a young child feel so confident and secure when surrounded by parents
love. The feeling of love is that much strong that an individual gains confidence without any
uneasiness being so secure in the love surrounded.
sUhI mhlw 1 Gru 9 <> siqgur pRswid ] kcw rMgu ksuMB kw QoViVAw idn cwir jIau ] ivxu nwvY
BRim BulIAw Tig muTI kUiVAwir jIau ] scy syqI riqAw jnmu n dUjI vwr jIau ]1] rMgy kw ikAw
rMgIAY jo rqy rMgu lwie jIau ] rMgx vwlw syvIAY scy isau icqu lwie jIau ] (751)34
33) Raag Suhi Lalit: This Raag has the feeling of emotional courage. There is a inconsistent
feature in this feeling that is though there is love in these feeling, there is also a boldness to
move forward to attain the desired goal.
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sUhI kbIr jIau lilq ] Qwky nYn sRvn suin Qwky QwkI suMdir kwieAw ] jrw hwk dI sB miq QwkI
eyk n Qwkis mwieAw ]1] bwvry qY igAwn bIcwru n pwieAw ] ibrQw jnmu gvwieAw ] (793)35
34) Raag Bilaval: Bilaval conveys the emotions of extreme happiness after achieving that
desired goal. The happiness experienced is like complete satisfaction with full of joy and
fulfilment when the attained goal is the most valuable achievement for an individual. It's an
emotion of natural happiness perceived from the accomplishment.
iblwvlu mhlw 3 ] Aqulu ikau qoilAw jwie ] dUjw hoie q soJI pwie ] iqs qy dUjw nwhI koie ]
iqs dI kImiq ikkU hoie ]1] gur prswid vsY min Awie ] qw ko jwxY duibDw jwie ]1] rhwau ]
(797)36
35) Raag Bilaval Dakhani: This Raag gives the feeling of great happiness and confidence
attained from the accomplishment of goal which is impossible to attain. It is full of
enthusiasm which can be shown by singing south Indian style of expression and its fast
rhythm .
iblwvlu mhlw 1 CMq dKxI <> siqgur pRswid ] muMD nvylVIAw goieil AweI rwm ] mtukI fwir
DrI hir ilv lweI rwm ] ilv lwie hir isau rhI goieil shij sbid sIgwrIAw ] kr joiV gur
pih kir ibnµqI imlhu swic ipAwrIAw ] Dn Bwie BgqI dyiK pRIqm kwm k®oDu invwirAw ] nwnk muMD
nvyl suMdir dyiK ipru swDwirAw ] (843)37
36) Raag Gond: Gond is an emotion of victory. But the feeling of victory is completely
balanced with the feeling of modesty. There is a feeling of understanding the goal achieved
but also an emotion of not to be captivated in the goal itself.
goNf mhlw 4 ] AYsw hir syvIAY inq iDAweIAY jo iKn mih iklivK siB kry ibnwsw ] jy hir
iqAwig Avr kI Aws kIjY qw hir inhPl sB Gwl gvwsw ] myry mn hir syivhu suKdwqw suAwmI
ijsu syivAY sB BuK lhwsw ] (860)38
37) Raag Bilaval Gond: Bilaval Gond expresses the emotion of bliss and determination but
without any self importance. The nature of this Raag is of abstract happiness but in a
disciplined way so that the feeling of happiness should not be out of control. This Raag has a
very thoughtful strategy to maintain its style.
iblwvlu goNf ] Awju nwmy bITlu dyiKAw mUrK ko smJwaU ry ] rhwau ] pWfy qumrI gwieqRI loDy kw Kyqu
KwqI QI ] lY kir Tygw tgrI qorI lWgq lWgq jwqI QI ] (874)39
38) Raag Raamkali: Raamkali presents the feelings like those of a good and wise teacher
disciplining students. It conveys the feeling of understanding that knowledge which the
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students are gaining is meant for their betterment. Students are very well aware of challenges
and pain of learning but still they are very much conscious that actually it is for the best.
rwmklI mhlw 1 ] ijqu dir vsih kvnu dru khIAY drw BIqir dru kvnu lhY ] ijsu dr kwrix iPrw
audwsI so dru koeI Awie khY ]1] ikn ibiD swgru qrIAY ] jIviqAw nh mrIAY ]1] (877)40
39) Raag Ramkali Dakhani: Dakhni constructed an environment of change from old to new
with the certainty that this transformation is worthwhile. These emotions are expressed with
South Indian rhythm and style.
rwmklI dKxI mhlw 1 ] jqu squ sMjmu swcu idRVwieAw swc sbid ris lIxw ]1] myrw guru dieAwlu
sdw rMig lIxw ] Aihinis rhY eyk ilv lwgI swcy dyiK pqIxw ] (907)41
40) Raag Nat Narayan: This Raag comprises the feeling of carelessness and impatience but
simultaneously there is firmness and control. Though there is control in the expressions of the
Raag but it can overturn at anytime.
rwgu nt nwrwien mhlw 4 <> siq nwmu krqw purKu inrBau inrvYru Akwl mUriq AjUnI sYBM gur
pRswid ] myry mn jip Aihinis nwmu hry ] koit koit doK bhu kIny sB prhir pwis Dry ]1] rhwau
] hir hir nwmu jpih AwrwDih syvk Bwie Kry ] iklibK doK gey sB nIkir ijau pwnI mYlu hry ]
(975)42
41) Raag Nat: Nat creates the feeling of being out of control and wild yet it returns from the
edge point of extreme wild and uncontrollable expressions creating a sense of relief by
reconstructing stability and control. This Raag makes an environment of suspense by using its
skills.
nt mhlw 4 ] rwm jip jn rwmY nwim rly ] rwm nwmu jipE gur bcnI hir DwrI hir ik®ply ]1]
rhwau ] hir hir Agm Agocru suAwmI jn jip imil sll slly ] hir ky sMq imil rwm rsu
pwieAw hm jn kY bil blly ] (975)43

42) Raag Mali Gaura: This Raag provides the aplomb of an expert. It gives you true bliss as
because you have become skilled and learned how to handle different things with knowledge
and skills of an expert which you gained from your experiences and therefore with this ability
it creates the nature of coolness.
mwlI gauVw mhlw 4 ] jip mn rwm nwmu suKdwqw ] sqsMgiq imil hir swdu AwieAw gurmuiK bRhmu
pCwqw ]1] rhwau ] vfBwgI gur drsnu pwieAw guir imilAY hir pRBu jwqw ] durmiq mYlu geI sB
nIkir hir AMimRiq hir sir nwqw ] (984)44
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43) Raag Maru: This Raag has a fierce nature. It is used in the battlefield before the
preparation of war. Maru provides inner strength and power to state and accentuate the truth
ignoring all the consequences.
mwrU mhlw 1 ] imil mwq ipqw ipMfu kmwieAw ] iqin krqY lyKu ilKwieAw ] ilKu dwiq joiq
vifAweI ] imil mwieAw suriq gvweI ]1] mUrK mn kwhy krsih mwxw ] auiT clxw KsmY Bwxw ]
(989)45
44) Raag Maru Kafi: Maru Kafi has compelling and brusque nature. Being harsh and direct in
expressing still it manages to express feelings in sweet and fascinating way.
This Raag has rigid nature, still it maintains the capability and allure to influence the listener.
As the listener, it compels you to listen willingly even though the emotions are blunt and
rude.
mwrU kwPI mhlw 1 Gru 2 ] Awvau vM\au fuMmxI ikqI imqR kryau ] sw Dn FoeI n lhY vwFI ikau
DIryau ]1] mYfw mnu rqw AwpnVy ipr nwil ] hau Goil GumweI KMnIAY kIqI ihk BorI ndir inhwil
] (1014)46
45) Raag Maru Dakhani: Maru Dakhani being emphasized by South Indian style of
expression and taal, Maru Dakhani creates the nature of truth and reality in rigorous and
direct way.
mwrU mhlw 1 dKxI ] kwieAw ngru ngr gV AMdir ] swcw vwsw puir ggnµdir ] AsiQru Qwnu sdw
inrmwielu Awpy Awpu aupwiedw ]1] AMdir kot Cjy htnwly ] Awpy lyvY vsqu smwly ] bjr kpwt jVy
jiV jwxY gur sbdI Kolwiedw ] (1033)47
46) Raag Tukhari: Tukhari conveys the soul‟s desire to glorify the greatness of The Creator
to mind which is its important goal irrespective of the unresponsive bent of stubborn mind.
The emotions of Tukhari are also influenced by the strong ambition of the soul to persuade
the mind to follow the path of highlighting the greatness of the Creator and to be the part of
Akal.
quKwrI CMq mhlw 1 bwrh mwhw <> siqgur pRswid ] qU suix ikrq krMmw purib kmwieAw ] isir
isir suK shMmw dyih su qU Blw ] hir rcnw qyrI ikAw giq myrI hir ibnu GVI n jIvw ] ipRA bwJu
duhylI koie n bylI gurmuiK AMimRqu pIvW ] rcnw rwic rhy inrMkwrI pRB min krm sukrmw ] nwnk
pMQu inhwly sw Dn qU suix Awqm rwmw ] (1107)48
47) Raag Kedara: Raag kedara makes the mind aware of the true identity and nature of the
conscience. It gives the expressions of veracious, virtue and honesty in a direct manner. The
mind is being made aware of the character of the soul, without creating any dishonest belief.
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kydwrw mhlw 4 Gru 1 <> siqgur pRswid ] myry mn hir hir gun khu ry ] siqgurU ky crn Doie
Doie pUjhu ien ibiD myrw hir pRBu lhu ry ] rhwau ] kwmu k®oDu loBu mohu AiBmwnu ibKY rs ien sMgiq qy
qU rhu ry ] imil sqsMgiq kIjY hir gosit swDU isau gosit hir pRym rswiexu rwm nwmu rswiexu hir
rwm nwm rwm rmhu ry ] (1118)49
48) Raag Bhairao: This Raag illustrates the soul‟s devotion towards the Creator. Its type of
revolutionary expression of not being caring for anything else except adoring the Creator .In
Bhairao , the soul carries the happiness which any mind can experience only if it adores the
Creator.
rwgu BYrau mhlw 1 Gru 2 ] gur kY sbid qry muin kyqy ieMdRwidk bRhmwid qry ] snk snµdn qpsI
jn kyqy gur prswdI pwir pry ]1] Bvjlu ibnu sbdY ikau qrIAY ] nwm ibnw jgu roig ibAwipAw
duibDw fuib fuib mrIAY ] (1125)50
49) Raag Basant: Basant signifies the beginning of something new. Like the spring season
removes all the dead leaves of flowers and gives a fresh start to them, this Raag encourages
an individual to remove all evils and to begin a new life. It makes an individual encouraged to
put the efforts for a new beginning.
mhlw 1 bsMqu ] ruiq AweIly srs bsMq mwih ] rMig rwqy rvih is qyrY cwie ] iksu pUj cVwvau
lgau pwie ]1] qyrw dwsin dwsw khau rwie ] jgjIvn jugiq n imlY kwie ] (1168)51
50) Raag Basant Hindol: Basant Hindol conveys the bliss and newness of the new beginning
and also states the gladness, which is the outcome of hard work. It creates an environment of
satisfaction and ease attained because of the new beginning.
bsMqu mhlw 1 ihMfol ] swhurVI vQu sBu ikCu swJI pyvkVY Dn vKy ] Awip kucjI dosu n dyaU jwxw
nwhI rKy ]1] myry swihbw hau Awpy Brim BulwxI ] AKr ilKy syeI gwvw Avr n jwxw bwxI
(1171)52
51) Raag Sarang: Sarang conveys the feeling to sooth and quench the self centred and
negative nature of minds. It enlighten the pure thoughts of the soul.
swrMg mhlw 4 Gru 1 <> siqgur pRswid ] hir ky sMq jnw kI hm DUir ] imil sqsMgiq prm
pdu pwieAw Awqm rwmu rihAw BrpUir ]1] rhwau ] siqguru sMqu imlY sWiq pweIAY iklivK duK kwty
siB dUir ] Awqm joiq BeI prPUilq purKu inrMjnu dyiKAw hjUir ] (1198)53
52) Raag Malhar: This Raag is an interaction of the emotions from the soul, to make the mind
cool and refresh. It provides calmness and sense of satisfaction to the mind which has strong
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desire to achieve the success quickly and without hard work. Malhar soothes the mind by
providing a sense of gratification to it.
mlwr mhlw 1 ] ijin Dn ipr kw swdu n jwinAw sw iblK bdn kumlwnI ] BeI inrwsI krm kI
PwsI ibnu gur Brim BulwnI ]1] brsu Gnw myrw ipru Gir AwieAw ] bil jwvW gur Apny pRIqm
ijin hir pRBu Awix imlwieAw ] (1255)54

53) Raag Kaanara: Kaanara generates the feeling of being conquered by an impressive
personality to whom it becomes difficult to stop thinking about. This personality has an
appealing character that forces you to make it your own. Its remarkable qualities is able to
gain victory over you.
kwnVw mhlw 4 ] myrw mnu sMq jnw pg ryn ] hir hir kQw sunI imil sMgiq mnu korw hir rMig Byn
]1] rhwau ] hm Aicq Acyq n jwnih giq imiq guir kIey suicq icqyn ] pRiB dIn dieAwil kIE
AMgIik®qu min hir hir nwmu jpyn ] (1294)55

54) Raag Kalian: Kalian has compelling, but adaptable nature. It conveys the desire to
achieve something by whatever means possible. Kalian sometimes uses adaptable nature and
at other moment it uses forceful means to attain its desired goal.
kilAwnu mhlw 4 ] hir jnu gun gwvq hisAw ] hir hir Bgiq bnI miq gurmiq Duir msqik pRiB
iliKAw ]1] rhwau ] gur ky pg ismrau idnu rwqI min hir hir hir bisAw ] hir hir hir kIriq
jig swrI Gis cMdnu jsu GisAw ] (1319)56
55) Raag Kalian Bhopali: Kalian Bhopali‟s nature is to provide the confidence to achieve the
desired aim. However it is not adjustable in its attitude, as the desired aim is handled directly
and in a disciplined way without any hesitation.
kilAwnu BopwlI mhlw 4 <> siqgur pRswid ] pwrbRhmu prmysuru suAwmI dUK invwrxu nwrwiexy ]
sgl Bgq jwcih suK swgr Bv iniD qrx hir icMqwmxy ]1] rhwau ] dIn dieAwl jgdIs dmodr
hir AMqrjwmI goibMdy ] qy inrBau ijn sRIrwmu iDAwieAw gurmiq murwir hir mukMdy ] (1321)57
56) Raag Parbhati Bibhas: This Raag expresses the feeling of understanding between the self
concerned mind and devotion of the soul. The „partaal‟ rhythm depicts the transformation in
the method which is invoked by compromise, yet it also accentuate the balance of
concentration.
rwgu prBwqI ibBws mhlw 1 caupdy Gru 1 ] nwie qyrY qrxw nwie piq pUj ] nwau qyrw ghxw miq
mksUdu ] nwie qyrY nwau mMny sB koie ] ivxu nwvY piq kbhu n hoie ]1] Avr isAwxp sglI pwju ]
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jY bKsy qY pUrw kwju ]1] rhwau ] nwau qyrw qwxu nwau dIbwxu ] nwau qyrw lskru nwau sulqwnu ] nwie
qyrY mwxu mhq prvwxu ] qyrI ndrI krim pvY nIswxu ] (1327)58
57) Raag Parbhati: The feelings expressed in this Raag are of extreme zeal; there is a deep
determination and love for the individual it is devoted to. This devotion arises from the
commonsense, deep analysis and wisdom.
pRBwqI mhlw 1 ] qyrw nwmu rqnu krmu cwnxu suriq iqQY loie ] AMDyru AMDI vwprY sgl lIjY Koie
]1] iehu sMswru sgl ibkwru ] qyrw nwmu dwrU Avru nwsiq krxhwru Apwru ] (1357)59
58) Raag Parbhati Dakhani: The nature of this Raag is much similar to that of Parbhati,
except its feeling of devotion which are more disciplined. This disciplined nature arises from
South Indian style of expression.
pRBwqI mhlw 1 dKxI ] goqmu qpw AihilAw iesqRI iqsu dyiK ieMdRü luBwieAw ] shs srIr ichn
Bg hUey qw min pCoqwieAw ]1] koeI jwix n BUlY BweI ] so BUlY ijsu Awip Bulwey bUJY ijsY buJweI ]
(1344)60
59) Raag Bibhas Parbhati: This Raag has a self reliant nature and has a sense of certitude,
which is gained through the awareness. It expresses the knowledge achieved from learning,
which inspire gratification. However, this knowledge is not arrogant, but is benign in its
influence because there is no need to boast the wisdom achieved, but a desire to share it with
the receiver to make him able to learn.
ibBws pRBwqI mhlw 5 AstpdIAw <> siqgur pRswid ] mwq ipqw BweI suqu binqw ] cUgih cog
Anµd isau jugqw ] auriJ pirE mn mIT muohwrw ] gun gwhk myry pRwn ADwrw ]1] eyku hmwrw
AMqrjwmI ] Dr eykw mY itk eyksu kI isir swhw vf purKu suAwmI ] (1347)61
60) Raag Jaijavanti: This Raag comprises dual emotions that is happiness and sadness which
works simultaneously. It conveys the feeling of bliss and contentment of the achievement, but
also expresses the sadness of losing. A perfect example for this Raag is that the parents of
newly married girl who feel happy for the new beginning of life of their daughter
simultaneously feel repressed because of the separation of their daughter. Both these
emotions help to remain stable.
rwgu jYjwvMqI mhlw 9 ] rwmu ismir rwmu ismir iehY qyrY kwij hY ] mwieAw ko sMgu iqAwgu pRB jU kI
srin lwgu ] jgq suK mwnu imiQAw JUTo sB swju hY ]1] rhwau ] supny ijau Dnu pCwnu kwhy pir
krq mwnu ] bwrU kI BIiq jYsy bsuDw ko rwju hY ] (1352)62
1
Dr. M. Tyagi, Significance Of Compositional Forms in Hindustani Classical Music,p-xiii.
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2
Ragas as defined in Guru Granth Sahib.
ਸ੍ਰੀ ਗੁਰੂ ਗਰੰ ਥ ਸ੍ਾਹਿਬ, ਅੰ ਕ. 9
3
4
auhI, AMk-10
5
auhI, AMk-12
6
auhI, AMk-13
7
auhI, AMk-169
8
auhI, AMk-14
9
auhI, AMk-94
10
auhI, AMk-157
11
auhI, AMk-152
12
auhI, AMk-152
13
auhI, AMk-156
14
auhI, AMk-156
15
auhI, AMk-156
16
auhI, AMk-163
17
auhI, AMk-218
18
auhI, AMk-215
19
auhI, AMk-330
20
auhI, AMk-365
21
auhI, AMk-369
22
auhI, AMk-409
23
auhI, AMk-428
24
auhI, AMk-537
25
auhI, AMk-559
26
auhI, AMk-590
27
auhI, AMk-595
28
auhI, AMk-696
29
auhI, AMk-712
30
auhI, AMk-720
31
auhI, AMk-722
32
auhI, AMk-726
33
auhI, AMk-728
34
auhI, AMk-751
35
auhI, AMk-793
36
auhI, AMk-796
37
auhI, AMk-843
38
auhI, AMk-960
39
auhI, AMk-874
40
auhI, AMk-877
41
auhI, AMk-907
42
auhI, AMk-975
43
auhI, AMk-975
44
auhI, AMk-984
45
auhI, AMk-989
46
auhI, AMk-1014
47
auhI, AMk-1033
48
auhI, AMk-1107
49
auhI, AMk-1118
50
auhI, AMk-1125
51
auhI, AMk-1168
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52
auhI, AMk-1171
53
auhI, AMk-1198
54
auhI, AMk-1255
55
auhI, AMk-1294
56
auhI, AMk-1319
57
auhI, AMk-1321
58
auhI, AMk-1327
59
auhI, AMk-1357
60
auhI, AMk-1344
61
auhI, AMk-1347
62
auhI, AMk-1352
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3 Concept of Raga in SGGS

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International Online Peer Review Refreed Research Journal

TRIVAINI SANGEETAK KHOJ PATRIKA

Indian Classical Music, often known as Hindustani ShastriyeSangeet is a wonderful

gwvin quDno swD bIcwry ] (8)3

rMig BInI myrI colI ] (168)7

kwtnhwrw lIjY ry ] (156)13

kwlu ] kir syvw qUM swD kI ho kwtIAY jm jwlu ]1 (214)17

pwieAw hm jn kY bil blly ] (975)43

nIkir hir AMimRiq hir sir nwqw ] (984)44

ijin hir pRBu Awix imlwieAw ] (1255)54

AMgIik®qu min hir hir nwmu jpyn ] (1294)55

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