Sri Guru Granth Sahib Raag-Kosh
This Gurbani Raag-Kosh has been formed by combining the extracts from Giani Darshan Singh Sohal Ji’s ‘Raag Kosh’ comrising thousands of well detailed ‘Raag’ enteries and can be said world’s largest raag kosh. This ‘Gurbani Raag Kosh’ embraces all the relevant facts concerning the form, sense and taste of the raagas (and their variants) of Sri Guru Granth Sahib, whether current at the moment, or obsolete, or archaic.
CONTENTS
1. ਆਸਾ Aasa, 2. ਆਸਾ ਕਾਫੀ Aasa Kaafi , 3. ਆਸਾਵਰੀ (ਸ਼ੁਧ ਰਿਸ਼ਵ ) Asaavari (shuddh rishav), 4. ਆਸਾਵਰੀ (ਕੋਮਲ ਰਿਸ਼ਵ ) Asaavari (komal rishav) , 5. ਸਾਰੰਗ ( ਬ੍ਰਿੰਦਾਬਨੀ) Saarang (Brindaavani), 6. ਸਿਰੀ ( ਪੂਰਵੀ ਥਾਟ ) Siree (poorvi that), 7. ਸਿਰੀ (ਕਾਫੀ ਥਾਟ) Siree (kaafi that), 8. ਸੂਹੀ (ਕਾਫੀ ਥਾਟ) Soohi (kaafi thaat), 9. ਸੂਹੀ (ਬਿਲਾਵਲ ਥਾਟ) Soohi (bilaawal thaat), 10. ਸੂਹੀ (ਖਮਾਜ ਥਾਟ) Soohi (khamaaj thaat), 11. ਸੂਹੀ ਕਾਫੀ Soohi Kaafi , 12. ਸੂਹੀ ਲਲਿਤ Soohi Lalit , 13. ਕਲਿਆਨ Kalyan , 14. ਕਲਿਆਨ ਭੋਪਾਲੀ Kalyan Bhopali , 15. ਕਾਨੜਾ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Kaanrha (1st form) , 16. ਕਾਨੜਾ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Kaanrha (2nd form), 17. ਕਾਨੜਾ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Kaanrha (3rd form), 18. ਕੇਦਾਰਾ Kedaara , 19. ਗਉੜੀ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gaurhi (1st form), 20. ਗਉੜੀ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gaurhi (2nd Form), 21. ਗਉੜੀ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Gaurhi (3rd Form), 22. ਗਉੜੀ (ਚੌਥਾ ਪ੍ਰਕਾਰ) Gaurhi (4th form), 23. ਗਉੜੀ (ਪੰਜਵਾਂ ਪ੍ਰਕਾਰ) Gaurhi (5th form), 24. ਗਉੜੀ ਸੋਰਠਿ Gaurhi Sorth, 25. ਗਉੜੀ ਗੁਆਰੇਰੀ Gaurhi Guareri , 26. ਗਉੜੀ ਚੇਤੀ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gaurhi Cheti (1st form), 27. ਗਉੜੀ ਚੇਤੀ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gaurhi Cheti (2nd form), 28. ਗਉੜੀ ਚੇਤੀ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Gaurhi Cheti (3rd form), 29. ਗਉੜੀ ਦਖਣੀ Gaurhi Dakhani , 30. ਗਉੜੀ ਦੀਪਕੀ Gaurhi Deepki , 31. ਗਉੜੀ ਪੂਰਬੀ Gaurhi Poorbi, 32. ਗਉੜੀ ਪੂਰਬੀ ਦੀਪਕੀ Gaurhi Poorbi Deepki , 33. ਗਉੜੀ ਬੈਰਾਗਣਿ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gaurhi Beraagn (1st form), 34. ਗਉੜੀ ਬੈਰਾਗਣਿ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gaurhi Beraagn (2nd form), 35. ਗਉੜੀ ਮਾਝ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gaurhi Majh (1st form), 36. ਗਉੜੀ ਮਾਝ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gauri Maajh (2nd form) , 37. ਗਉੜੀ ਮਾਝ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Gaurhi Maajh (3rd form), 38. ਗਉੜੀ ਮਾਲਾ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gaurhi Maala (1st form), 39. ਗਉੜੀ ਮਾਲਾ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gaurhi Maala (2nd form), 40. ਗਉੜੀ ਮਾਲਵਾ Gaurhi Maalwa , 41. ਗੂਜਰੀ Goojri , 42. ਗੋਂਡ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gond (1st form) , 43. ਗੋਂਡ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gond (2nd form), 44. ਗੋਂਡ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Gond (3rd form), 45. ਜੈਜਾਵੰਤੀ Jaijaavanti, 46. ਜੈਤਸਰੀ Jaitsari , 47. ਟੋਡੀ Todee, 48. ਤਿਲੰਗ Tilang, 49. ਤਿਲੰਗ ਕਾਫੀ Tilang Kaafi , 50. ਤੁਖਾਰੀ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Tukhaari (1st form) , 51. ਤੁਖਾਰੀ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Tukhaari (2nd form), 52. ਤੁਖਾਰੀ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Tukhaari (3rd form) , 53. ਦੇਵ ਗੰਧਾਰੀ Dev Gandhaari , 54. ਦੇਵ ਗੰਧਾਰ Dev Gandhaar, 55. ਧਨਾਸਰੀ (ਕਾਫੀ ਥਾਟ) Dhanaasari (kaafi that), 56. ਧਨਾਸਰੀ (ਭੈਰਵੀ ਥਾਟ) Dhanaasari (bhairivi thaat), 57. ਨਟ Nat , 58. ਨਟ ਨਾਰਾਇਣ Nat Naraain, 59. ਪ੍ਰਭਾਤੀ Prbhaati, 60. ਪ੍ਰਭਾਤੀ ਬਿਭਾਸ Prbhaati Bibhaas, 61. ਪ੍ਰਭਾਤੀ ਦਖਣੀ Prbhaati Dakhani , 62. ਬਸੰਤ Basant , 63. ਬਸੰਤ ਹਿੰਡੋਲ Basant Hindol , 64. ਬਿਹਾਗੜਾ Bihaagrha , 65. ਬਿਭਾਸ (ਭੈਰਵ ਥਾਟ ) Bibhaas (bhairv thaat) , 66. ਬਿਭਾਸ (ਮਾਰਵਾ ਥਾਟ ) Bibhaas (maarva thaat), 67. ਬਿਭਾਸ ਪ੍ਰਭਾਤੀ Bibhaas Prbhaati , 68. ਬਿਲਾਵਲ ਗੋਂਡ Bilaawal Gond, 69. ਬਿਲਾਵਲ ਦਖਣੀ Bilaawal Dakhani , 70. ਬਿਲਾਵਲ ਮੰਗਲ Bilaawal Mangal , 71. ਬੈਰਾੜੀ Bairaarhi , 72. ਭੈਰਵ Bhairav , 73. ਮਲਾਰ (ਬਿਲਾਵਲ ਥਾਟ) Malaar (bilaawal that), 74. ਮਲਾਰ (ਕਾਫੀ ਥਾਟ) Malaar (kaafi that),
75. ਮਾਝ (ਕਾਫੀ ਅੰਗ) Maajh (kaafi ang)
76. ਮਾਝ (ਬਿਲਾਵਲ ਅੰਗ) Maajh (bilaawal ang) , 77. ਮਾਝ ( ਖਮਾਜ ) Maajh (khamaaj ang), 78. ਮਾਰੂ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Maaru (1st form) , 79. ਮਾਰੂ (ਦੂਜਾ ਪ੍ਰਕਾਰ), Maaru (2nd form) , 80. ਮਾਰੂ (ਤੀਜਾ ਪ੍ਰਕਾਰ), Maaru (3rd form), 81. ਮਾਰੂ ਕਾਫੀ Maaru Kaafi , 82. ਮਾਰੂ ਦਖਣੀ Maaru Dakhni , 83. ਮਾਲੀ ਗਉੜਾ Maali Gaurha , 84. ਰਾਮਕਲੀ Raamkali , 85. ਰਾਮਕਲੀ ਆਨੰਦ Raamkali Anand , 86. ਰਾਮਕਲੀ ਦਖਣੀ Raamkali Dakhni , 87. ਲਲਿਤ Lalit , 88. ਵਡਹੰਸ Vadhans , 89. ਵਡਹੰਸ ਦਖਣੀ Vadhans Dakhni
Following system of symbols is used to represent the surs (musical notes) in three Saptiks.
S* R¹* R* G¹* G* M* M¹* P* D¹* D* N¹* N* S R¹ R G¹ G M M¹ P D¹ D N¹ N Sº R¹º Rº G¹º Gº Mº M¹º Pº D¹º Dº N¹º Nº
Mandir Saptik – S* R¹* R* G¹* G* M* M¹* P* D¹* D* N¹* N*
Madh Saptik – S R¹ R G¹ G M M¹ P D¹ D N¹ N
Taar Saptik – Sº R¹º Rº G¹º Gº Mº M¹º Pº D¹º Dº N¹º Nº
1
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਆਸਾ Aasa
Thaat – bilaawal
Jaati – aurhav sampuran
Sur – all shuddh
Varjit - gandhaar and nishaad in aroh.
Vaadi - madhyam
Samvaadi - sharhaj
Time – 4th quarter of night and 4th quarter of a day.
Aroh – S, R, MP, DSº.
Avroh- SºNDP, MGR, SGRGS.
Mukh-Ang - S, RMPD, PDPMGR, SGRGS.
Remarks -1st Sikh Guru Sri Guru Nanak Dev ji did form this raag as elaboration of a famous esteemed Punjabi folk tune having good qualities in high degree to perform meritorious actions of amusement of mind and soul.
2
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਆਸਾ ਕਾਫੀ Aasa Kaafi
Thaat – kaafi
Jaati – aurhav sampuran
Sur – both nishaad, gandhaar komal, rest all shuddh.
Varjit – gandhaar and nishaad in aroh.
Vaadi – pancham
Samvaadi – rishav
Time – 1st quarter of night.
Aroh – S, RRMP, DN¹DP, DSºNSº.
Avroh- Sº, RºN¹DP, DPMP, G¹G¹RS.
Mukh-Ang - N¹DP, RMP, PDPMP, MPG¹R, S.
Remarks – It is the kindly moderation of medley of raag ‘aasa’ and raag ‘kaafi’.
3
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਆਸਾਵਰੀ (ਸ਼ੁਧ ਰਿਸ਼ਵ ) Asaavari (shuddh rishav)
Thaat- asaavari
Jaati – aurhav sampuran
Sur – gandhaar dhewat nishaad komal, rest all shuddh.
Varjit – gandhaar and nishaad in aroh.
Vaadi - dhewat
Samvaadi -gandhaar
Time – 2nd quarter of day.
Aroh – S, RMP, D, Sº.
Avroh- SºN¹D¹, P, MPD¹, D¹MP, G¹, RS.
Mukh-Ang - RMP, N¹D¹P,D¹D¹PMPD¹,MPG¹,RS.
Remarks - In these days this form of ‘asaavari’ is much popular.
4
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਆਸਾਵਰੀ (ਕੋਮਲ ਰਿਸ਼ਵ ) Asaavari (komal rishav)
Thaat- bhairvi
Jaati – shaarhav sampuran
Sur – all komal
Varjit – gandhaar in aroh
Vaadi – dhewat
Samvaadi – gandhaar
Time – 2nd quarter of day.
Aroh – S, R¹MP, D, N¹Sº.
Avroh- SºN¹D¹, DP¹, D¹MP, G¹ R¹S.
Mukh-Ang – R¹MP, PD¹MPD¹, D¹N¹Sº, D¹P .
Remarks – During Sikh Guru’s age this type of ‘asaavari’ was much common.
5
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਸਾਰੰਗ ( ਬ੍ਰਿੰਦਾਬਨੀ) Saarang (Brindaavani)
Thaat – kaafi
Jaati – aurhav aurhav
Sur – both nishaad, rest all shuddh.
Varjit - gandhaar and dhewat
Vaadi – rishav
Samvaadi – pancham
Time - mid-day
Aroh – N*S, RMP, NSº.
Avroh- Sº, N¹P, MR, S.
Mukh-Ang – N*S, RMR, PMR, S.
Remarks – Shuddh dhewat can be used in this raag but upto infinitesimal extent and with high skill only. Shuddh nishaad in aroh and komal nishaad in avroh are wielded.
6
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਸਿਰੀ ( ਪੂਰਵੀ ਥਾਟ ) Siree (poorvi that)
Thaat – poorvi
Jaati – aurhav sampuran
Sur – rishav dhewat komal, madhyam teevar, rest all shuddh.
Varjit – gandhaar and dhewat in aroh.
Vaadi – rishav
Samvaadi – pancham
Time – sunset
Aroh – S, SR¹ GR¹, S, R¹M¹P, NSº.
Avroh- SºND¹P, M¹GR¹, GR¹, S.
Mukh-Ang-S, SR¹GR¹, S, R¹P, M¹P, M¹GR¹, SR¹, S.
Remarks – Evolution of this form of ‘siree’ raag is not older than 250 years, but its populariy is at maximum and it bears extreme sober nature.
7
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਸਿਰੀ (ਕਾਫੀ ਥਾਟ) Siree (kaafi that)
Thaat – kaafi
Jaati – aurhav sampuran
Sur – gandhaar nishaad komal, rest all shuddh.
Varjit – gandhaar and dhewat in aroh.
Vaadi – rishav
Samvaadi – pancham
Time – mid-day
Aroh – S,G¹RSR, N¹SRS, RMP , N¹Sº.
Avroh- SºN¹DP, MDP, MG¹R, SR, S.
Mukh-Ang – SP, MP, MG¹R, SR, S,.
Remarks – Only this type of ‘siree’; raag was existing in Sikh Guru ‘s age, hence this form of ‘siree’ raag is really ment for Gurbani and is very imploring .
8
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਸੂਹੀ (ਕਾਫੀ ਥਾਟ) Soohi (kaafi thaat)
Thaat-kaafi
Jaati – sampuran sampuran
Sur – gandhaar nishaad komal, rest all shuddh.
Varjit – dhewat
Vaadi – madhyam
Samvaadi – sharhaj
Time – Last two third part of 1st quarter of day.
Aroh – S, RG¹M, MP, N¹Sº.
Avroh- Sº N¹ M, MP, MPG¹, G¹RS.
Mukh-Ang - MP, N¹ M, MPMG¹, RG¹M, N¹MP, G¹RS .
Remarks – Lengthy meend from nishaad to madhyam in avroh is very attractive.
9
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
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ਸੂਹੀ (ਬਿਲਾਵਲ ਥਾਟ) Soohi (bilaawal thaat)
Thaat – bilaawal
Jaati – sampuran sampuran
Sur – both nishaad, rest all shuddh.
Varjit – none
Vaadi – pancham
Samvaadi – sharhaj
Time – 2nd quarter of day.
Aroh -SRGM, RGMP, ND, NSº.
Avroh- SºN¹DP, MGR, GR, S.
Mukh-Ang – SºDN¹P, MGR, GPMGRS .
Remarks – Dhewat is weak in the avroh.
10
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਸੂਹੀ (ਖਮਾਜ ਥਾਟ) Soohi (khamaaj thaat)
Thaat-khamaaj
Jaati – shaarhav sampuran
Sur – nishaad komal, rest all shuddh.
Varjit – rishav in aroh.
Vaadi -pancham
Samvaadi – sharhaj
Time – 2nd quarter of night.
Aroh – SGM, GMP, N¹D, N¹Sº.
Avroh- SºN¹DN¹, DP, MGPMG, MGRS.
Mukh-Ang – SºN¹DN¹ DP, MGRG, PMGRS.
Remarks -This form of soohi was very prevalent among the Rabaabies.
11
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਸੂਹੀ ਕਾਫੀ Soohi Kaafi
Thaat - kaafi
Jaati - shaarhav sampuran
Sur - gandhaar nishaad komal, rest all shuddh.
Varjit - dhewat in aroh.
Vaadi -pancham
Samvaadi - sharhaj
Time - 2nd quarter of day.
Aroh - SRG¹, MPN¹Sº.
Avroh- SºN¹DP, MG¹, RS.
Mukh-Ang - N¹P, DP, MP, G¹RS.
Remarks -The structure of this raag is the resultant of raag ‘kaafi’ and raag ‘soohi’ (kaafi Thaat).
12
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਸੂਹੀ ਲਲਿਤ Soohi Lalit
Thaat-. none
Jaati-shaarhav sampuran
Sur - both rishav, both madhyam, both dhewat, rest all shuddh.
Varjit - pancham in avroh.
Vaadi - madhyam
Samvaadi -sharhaj
Time - 4th quarter of day.
Aroh - SRG, MMP, NDNSº.
Avroh- Sº, RºND¹, M¹D¹, M¹MG, M¹GR¹S .
Mukh-Ang-P, ND,NSº, RºND¹, M¹D¹, M, M¹M, M¹GR¹S.
Remarks - It is the decent blent of raag ‘lalit’ and raag ‘soohi’ of bilaawal ang.
13
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਕਲਿਆਨ Kalyan
Thaat - kalyan
Jaati - sampuransampuran
Sur - madhyam teevar , rest all shuddh.
Varjit - none
Vaadi - gandhaar
Samvaadi - nishaad
Time - 1st quarter of night.
Aroh - NRG, M¹DNSº .
Avroh- SºN, DP, M¹G, PRS.
Mukh-Ang – N*RG, R, S, PM¹G, PGRS .
Remarks - If shuddh madhyam is nested between gandhaar as ‘GMG’ it is altered to raag ‘yaman kalyan’.
14
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਕਲਿਆਨ ਭੋਪਾਲੀ Kalyan Bhopali
Thaat - kalyan
Jaati - vakar sampuran
Sur - madhyam teevar, rest all shuddh.
Varjit - none
Vaadi - gandhaar
Samvaadi - nishaad
Time - 1st quarter of night.
Aroh - S, N*D*N*RG, GM¹P, GM¹DNSº.
Avroh- SºNDP, DM¹G, PG, RS.
Mukh-Ang - N*D*N*RG, PM¹G, PGRS .
Remarks - It is the intermixing of raag ‘kalyan’ and raag ‘bhoopali’. Cluster ‘PGRS’belongs to raag ‘bhoopali’.
15
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਕਾਨੜਾ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Kaanrha (1st form)
Thaat-kaafi
Jaati-shaarhav-vakar sampuran
Sur- gandhaar komal, bothnishaad, rest all shuddh.
Varjit - dhewat in aroh
Vaadi - pancham
Samvaadi - sharhaj
Time - 2nd quarter of night.
Aroh - SRMG¹, MP, NSº.
Avroh- Sº, N¹D, N¹P, MPMG¹MG¹, M, MRS.
Mukh-Ang - NRS, RP, N¹D, N¹P, MG¹MG¹, MRS.
Remarks - It is the most ancient form of ‘kaanrha’ and is also known as ‘shuddh kaanrha’.
16
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਕਾਨੜਾ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Kaanrha (2nd form)
Thaat - kaafi
Jaati - shaarhav shaarhav
Sur - both madhyam, rest all shuddh.
Varjit - dhewat
Vaadi - pancham
Samvaadi - sharhaj
Time - 2nd quarter of night.
Aroh - SRMG¹, M RP, NSº.
Avroh- Sº, N¹P, MP, MG¹MG¹, M, MRS.
Mukh-Ang - NS, RP, N¹P, MG¹MG¹, MRS.
Remarks - During Sikh Gurus’s age it was very favourite raag of Rabaabies.
17
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਕਾਨੜਾ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Kaanrha (3rd form)
Thaat-asaavari
Jaati - sampuran shaarhav
Sur-gandhaar dhewat nishaad komal, rest all shuddh.
Varjit - dhewat in avroh
Vaadi - rishav
Samvaadi - pancham
Time - mid-night
Aroh – N*SR, MG¹RS, MPN¹D¹, N¹Sº .
Avroh- Sº N¹D¹, N¹P, MP, MG¹MG¹, MRS.
Mukh-Ang-SR MG¹MG, MRS,N*SR,N¹D¹N¹P,N¹D¹N¹Sº.
Remarks - At present it is the most popular form of ‘kaanrha’ and is also known as ‘darbaari’.
18
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਕੇਦਾਰਾ Kedaara
Thaat-kaafi
Jaati - aurhav sampuran
Sur - both madhyam, rest all shuddh.
Varjit - rishav and gandhaar in avroh
Vaadi - madhyam
Samvaadi -sharhaj
Time - 1st quarter of night.
Aroh - S, M, GMP, M¹PPM, M¹PNDSº .
Avroh- SºND, P, M¹P, DPM, R, S.
Mukh-Ang - SM, M GP, M¹PDP, M, M, R, S.
Remarks - Gandhaar is extremely weak.
19
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
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ਗਉੜੀ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gaurhi (1st form)
Thaat - bhairv
Jaati - sampuran sampuran
Sur - rishav dhewat komal, rest all shuddh.
Varjit - none
Vaadi -madhyam
Samvaadi- sharhaj
Time - 4th quarter of day.
Aroh - SR¹GR¹, GMP, M, MPD¹NSº.
Avroh- SºND¹P, D¹PM, R¹GR¹G, R¹S, R¹NS.
Mukh-Ang - Sº MD¹P, D¹PMPGM, R¹GR¹NSN.
Remarks -Like many other types of ‘gauri’, pause on mandhar nishaad is one of its important signs which helps to recognize it.
20
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gaurhi (2nd Form)
Thaat - bhairv
Jaati - aurhav sampuran
Sur - rishav dhewat komal, rest all shuddh.
Varjit - rishav and dhewat in aroh.
Vaadi - sharhaj
Samvaadi -pancham
Time - 4th quarter of day.
Aroh - S, NSGR¹, SGMPNSº.
Avroh-R¹ºNSº, ND¹P, MPGR¹, MGR¹, SN*, S.
Mukh-Ang-S, N*SGR¹, MPGR¹, MGR¹, SN*, S, R¹,S.
Remarks - Mild andolan is applied on dhewat with gentle touching of nishaad.
21
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Gaurhi (3rd Form)
Thaat-bhairv
Jaati - shaarhav sampuran
Sur - rishav dhewat komal, rest all shuddh
Varjit - rishav in aroh
Vaadi - pancham
Samvaadi - sharhaj
Time - 4th quarter of day.
Aroh - SGMPGR¹, GMPD¹NSº.
Avroh- SºND¹P, MP, R¹GR¹G, R¹S, R¹, N* S.
Mukh-Ang - SGMP, GR¹, S MR N*SN*.
Remarks - Mild andolan is applied on rishav with gentle touching of madhyam.
22
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ (ਚੌਥਾ ਪ੍ਰਕਾਰ) Gaurhi (4th form)
Thaat - bilaawal
Jaati - sampuran sampuran
Sur - both rishav
Varjit - none
Vaadi - pancham
Samvaadi - sharhaj
Time - 4th quarter of day.
Aroh – SN* SR¹N*, SRGRGMP, NDNSº.
Avroh- RºNDP, MG, MRG MR¹, NSº.
Mukh-Ang- GMP, MRG MR SN*, N*D*, SN*, R¹S .
Remarks - Both rishav bear ¹ madhyam as grace note (kan sur).
23
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ (ਪੰਜਵਾਂ ਪ੍ਰਕਾਰ) Gaurhi (5th form)
Thaat - poorvi
Jaati - aurhav sampuran
Sur - both madhyam , rishav dhewat komal, rest all shuddh.
Varjit - gandhaar and dhewat in aroh.
Vaadi - rishav
Samvaadi - pancham
Time - 4th quarter of day.
Aroh – N*R¹, SR¹GR¹, M¹P, NSº.
Avroh- SºND¹P, M, PGR¹, M¹GR¹, SN*, R¹S.
Mukh-Ang - R¹, M¹P, M, PGR¹, SN*, R¹, S .
Remarks - This form of ‘gaurhi’ is least popular.
24
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ ਸੋਰਠਿ Gaurhi Sorth
Thaat-none
Jaati- shaarhav sampuran
Sur - both rishav, both madhyam, both dhewat, both nishaad, rest all shuddh.
Varjit - dhewat in aroh.
Vaadi - sharhaj
Samvaadi - pancham
Time - 2nd quarter of night.
Aroh - S, N*R¹GR¹S, MRMP, NSº.
Avroh-Sº, RºNDP, M¹PD¹MP, MR¹, M¹GR¹S N*R¹S.
Mukh-Ang-N*R¹S, MRMP,D¹M¹P,M¹G,MR, N*R¹S.
Remarks -Gandhaar and nishaad are vakar. Teevar madhyam is used only in aroh.
25
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ ਗੁਆਰੇਰੀ Gaurhi Guareri
Thaat - maarva
Jaati- aurhav shaarhav
Sur - rishav komal, rest all shuddh.
Varjit- rishav pancham in aroh and, pancham in avroh.
Vaadi - gandhaar
Samvaadi - dhewat
Time - 4th quarter of day.
Aroh - SG, M¹DNSº.
Avroh- SºND, M¹, D, GMG, M¹G, R¹S.
Mukh-Ang - M¹D, ND, GMG, M¹G, R¹S .
Remarks - It is the decent blent of raag ‘sohni’ and raag ‘gaurhi’.
26
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ ਚੇਤੀ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gaurhi Cheti (1st form)
Thaat - poorvi
Jaati - shaarhav sampuran
Sur - rishav dhewat komal, both madhyam, rest all shuddh
Varjit - gandhaar in aroh
Vaadi - pancham
Samvaadi - sharhaj
Time - 4th quarter of day.
Aroh - S, R¹R¹, M¹P, NSº.
Avroh-SºND¹P, D¹M, D¹MP, M¹D¹M¹, GR¹, GR¹, S.
Mukh-Ang - D¹M, D¹MP, PM¹D¹M¹, GR¹, GR¹, S, N*R¹S.
Remarks - It is the outcome of systematic co-structuring of raag ‘siree’ and raag
‘gaurhi’.
27
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ ਚੇਤੀ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gaurhi Cheti (2nd form)
Thaat - poorvi
Jaati - sampuran sampuran
Sur - both madhyam, rishav dhewat komal, rest all shuddh.
Varjit - none
Vaadi - pancham Samvaadi - sharhaj
Time - 4th quarter of day.
Aroh - S, N*R¹GM¹P, MD¹NSº.
Avroh- R¹ºNSºND¹P, D¹MP, M¹GR¹S, R¹NS.
Mukh-Ang-M, GM¹P, D¹MP, M¹GR¹, S, R¹NR¹, S.
Remarks - In Indian calender month ‘Chet’ (between mid of February and mid of March) it is allowed to sing in any part of day or night
28
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ ਚੇਤੀ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Gaurhi Cheti (3rd form)
Thaat - maarva
Jaati - shaarhav sampuran
Sur - rishav komal, both madhyam, rest all shuddh.
Varjit - pancham in aroh
Vaadi - rishav
Samvaadi - pancham
Time - 4th quarter of day.
Aroh – N*R¹GR¹, GM¹P, M¹DNSº.
Avroh- NR¹ºNDP, M¹DP, GMG, M¹GR¹, N*R¹S.
Mukh-Ang- GM¹D, M¹DP, GMG, M¹GR¹, N*R¹S.
Remarks - In the month of ‘Chet’ it is sung at any time. It is the resultant of raag ‘maarva’ and raag ‘gaurhi’.
29
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ ਦਖਣੀ Gaurhi Dakhani
Thaat - bhairv
Jaati - aurhav-vakar sampuran
Sur - rishav dhewat komal, rest all shuddh.
Varjit - gandhaar and dhewat in aroh.
Vaadi - rishav
Samvaadi - pancham
Time - 4th quarter of day.
Aroh - SR¹P, MPNSº.
Avroh- SºND¹P, MP, GR¹, MGR¹S, N*R¹S.
Mukh-Ang- NR¹S, R¹P, D¹P, MP, GR¹, MGR¹, N*R¹S .
Remarks - It belongs to the Southern stream of Indian classical music.
30
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ ਦੀਪਕੀ Gaurhi Deepki
Thaat - poorvi
Jaati - vakar sampuran
Sur - rishav dhewat komal, madhyam teevar, rest all shuddh.
Vaadi - gandhaar
Samvaadi - nishaad
Time - 4th quarter of day.
Aroh - S, N*R¹GR¹, GM¹P, M¹D¹P, MD¹NSº.
Avroh- Sº, NR¹GR¹, GM¹P, M¹D¹P, MD¹N*Sº.
Mukh-Ang - M¹PM¹G, M¹PG, R¹S, N*D¹*SN*, R¹S .
Remarks - There is a prevailing mode of skipping pancham in aroh while sinking into sharhaj. Subparts of raag ‘deepak’ and are found in it. Clusters ‘NSºD¹P’ and ‘PGR¹S’ belong to raag ‘deepak’.
31
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ ਪੂਰਬੀ Gaurhi Poorbi
Thaat - poorvi
Jaati - sampuran-sampuran
Sur-rishav dhewat komal both madhyam, rest all shuddh.
Varjit - none
Vaadi - rishstrongav
Samvaadi - pancham
Time - 4th quarter of day.
Aroh - S, N*R¹GR¹, GM¹P, M¹PD¹P, NSº.
Avroh- Sº, ND¹P, M¹GMG, M¹G, R¹S, R¹S.
Mukh-Ang- PD¹P, M¹PM¹G, MG, M¹R¹MG, PGR¹S, N*D¹*, SN*, R¹,S.
Remarks - It is the decent blent of raag ‘gaurhi’ and raag ‘poorvi’ of bilawal ang.
32
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ ਪੂਰਬੀ ਦੀਪਕੀ Gaurhi Poorbi Deepki
Thaat - poorvi
Jaati - vakar sampuran
Sur-rishav dhewat komal both madhyam, rest all shuddh.
Varjit - none
Vaadi - gandhaar
Samvaadi - nishaad
Time - 4th quarter of day.
Aroh - S, N*R¹GR¹, GM¹P, M¹D¹P, M¹DNSº .
Avroh-Sº, NSºD¹P, PD¹P, M¹PM¹G, MG, M¹R¹MG, PG, R¹S.
Mukh-Ang- PD¹P, M¹PM¹G, MG, M¹R¹MG, PGR¹S, N*D*, SN*, R¹, S.
Remarks - It is the outcome of putting together three raag, raag ‘gaurhi’, raag ‘deepak’, and raag ‘poorvi’ in a highly systematic way. Note clusters ‘NSºD¹P’ and ‘PGR¹S’ are representing raag ‘deepak’.
33
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ ਬੈਰਾਗਣਿ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gaurhi Beraagn (1st form)
Thaat - bhairv
Jaati - aurhav aurhav
Sur - rishav dhewat komal, rest all shuddh.
Varjit - gandhaar, pancham
Vaadi - rishav
Samvaadi - dhewat
Time - 1st quarter of day.
Aroh - SR¹, MD¹, NSº.
Avroh- SºND¹, M, R¹S, N*R¹S.
Mukh-Ang- D¹, MR¹M, MR¹, S, N*D¹*, SN*, R¹S .
Remarks - If madhyam is stressed beyound a certain limit , interference of a raag ‘kashnika’ is observed.
34
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ ਬੈਰਾਗਣਿ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gaurhi Beraagn (2nd form)
Thaat - poorvi
Jaati - aurhav sampuran
Sur - rishav dhewat komal, madhyam teevar, rest all shuddh.
Varjit - rishav and dhewat in aroh
Vaadi - gandhaar Samvaadi - nishaad
Time - mid-day
Aroh - SG, M¹D¹, NSº.
Avroh- SºND¹P, M¹G, R¹S, N*R¹S.
Mukh-Ang - ND¹P, M¹D¹, M¹GR¹S, N*D¹*, SN*, R¹S .
Remarks -This form was very popular among Rabaabies.
35
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ ਮਾਝ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gaurhi Majh (1st form)
Thaat- none
Jaati - vakar sampuran
Sur - both rishav both gandhaar both madhyam, both dhewat both nishaad.
Varjit - none
Vaadi - pancha
Samvaadi - sharhaj
Time - 4th quarter of day.
Aroh - S, R¹R¹M¹P, M¹PD¹P, M¹PNSº.
Avroh- SºND¹P, DPM¹P, MG, MG¹RS, N*R¹S.
Mukh-Ang - R¹M¹P,M¹PD¹P,M¹P,MG,MG¹RS, N*D¹*, SN*, R¹S .
Remarks - All the 12 sur of saptak are skillfully woven into it.
36
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ ਮਾਝ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gauri Maajh (2nd form)
Thaat- none
Jaati-sampuran sampuran
Sur - both rishav, both madhyam, both dhewat, both nishaad, rest all shuddh.
Varjit - none
Vaadi - pancham
Samvaadi - sharhaj
Time - 1st quarter of day.
Aroh - SRG, MP, M¹PD¹P, ND, Sº.
Avroh- RºN¹DP, D¹PM¹P, MGMR, GR¹S, ND, SNR¹S.
Mukh-Ang - D¹PM¹P, MGMR, GR¹S, N*D*, SN*R¹S.
Remarks - It is the kindly moderation of medley of raag ‘maajh’ and raag ‘gaurhi’ and raag ’bilaawal’.
37
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ ਮਾਝ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Gaurhi Maajh (3rd form)
Thaat - none
Jaati-sampuran sampuran
Sur - both rishav, both dhewat, both nishaad, rest all shuddh.
Varjit - none
Vaadi - pancham
Samvaadi - sharhaj
Time - mid-night
Aroh - SGMP, D¹P, MPDNSº.
Avroh- R¹ºNSºN¹DP, MPD¹P, MGR, MGR¹S, N¹*D, SN*,R¹S.
Mukh-Ang-GMP, D¹P, MGR, MGR¹S, N¹*D*, SN*,R¹S.
Remarks -It is the decent mingle of raag ‘gaurhi’ and raag ‘maajh’.
38
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
< h2>ਗਉੜੀ ਮਾਲਾ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gaurhi Maala (1st form)
Thaat - poorvi
Jaati - vakar sampuran
Sur - rishav dhewat komal, madhyam teevar, rest all shuddh.
Varjit - none
Vaadi - rishav
Samvaadi - pancham
Time - 4th quarter of day.
Aroh - S, N*R¹GM¹P, M¹D¹NSº.
Avroh- Sº, RºNP, D¹M¹GR¹, M¹GR¹S .
Mukh-Ang - M¹DNP, D¹M¹GR¹, M¹G, R¹S .
Remarks - Constituents of raag ‘gaurhi’ and raag ‘poorvi’ are found in it.
39
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ ਮਾਲਾ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gaurhi Maala (2nd form)
Thaat - bhairvi
Jaati - vakar sampuran
Sur - rishav gandhaar dhewat nishaad komal, both madhyam.
Varjit - none
Vaadi - pancham
Samvaadi - sharhaj
Time - morning
Aroh - N¹*R¹S, N¹*R¹G¹MP, M¹P, M¹D¹N¹Sº.
Avroh- N¹SºR¹º, N¹P, M¹D¹PMG¹R¹, N¹*P*, D¹*N¹*, R¹S .
Mukh-Ang - M¹D¹N¹P, M¹D¹PMG¹R¹, N¹*P*, D¹*N¹*, R¹S .
Remarks - It is the raag which is seldom met with.
40
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗਉੜੀ ਮਾਲਵਾ Gaurhi Maalwa
Thaat - poorvi
Jaati - vakar sampuran
Sur - rishav dhewat komal, madhyam teevar, rest all shuddh.
Varjit - none
Vaadi - rishav
Samvaadi - pancham
Time - 4th quarter of day.
Aroh - S, N*R¹GR¹, GM¹D¹P, M¹D¹NSº.
Avroh- Sº, Rº¹ND¹P, PM¹G, R¹G, R¹S, N*R¹S.
Mukh-Ang- GM¹D¹P, M¹G, R¹G, R¹S N*R¹GR¹, N*R¹S .
Remarks -In far past this raag was very popular in province Malwa.
41
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗੂਜਰੀ Goojri
Thaat – torhee
Jaati - shaarhav shaarhav
Sur - rishav gandhaar dhewat komal, madhyam teevar, rest all shuddh.
Varjit - pancham
Vaadi - dhewat
Samvaadi - rishav
Time - 2nd quarter of day.
Aroh - SR¹G¹, M¹D¹, NSº.
Avroh- Sº, ND¹, M¹G¹, M¹R¹G¹, R¹S.
Mukh-Ang - R¹G¹, M¹D¹, ND¹, M¹G¹, M¹R¹G¹, R¹, S.
Remarks - Rishav and gandhaar remain a little bit lower than their standard pitches.
42
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗੋਂਡ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gond (1st form)
Thaat - bilaawal
Jaati - sampuran sampuran
Sur - all shuddh
Varjit - none
Vaadi - sharhaj
Samvaadi - madhyam
Time - 2nd quarter of day.
Aroh - SRGM, PDND, NSº.
Avroh- SºND, NP, MG, RS.
Mukh-Ang - ND, NP, MP, GM, GR, GRS .
Remarks - Madhyam and sharhaj are taken as vaadi and samvaadi respectively by many eminent performers and theoreticians.
43
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
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ਗੋਂਡ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gond (2nd form)
Thaat -. none
Jaati - sampuran sampuran
Sur - gandhaar dhewat komal , rest all shuddh.
Varjit - none
Vaadi - pancham
Samvaadi - sharhaj
Time - mid-day
Aroh - SRG¹, RMP, D¹SºNSº.
Avroh- SºD¹NP, MP, MG¹M, R ,S.
Mukh-Ang- D¹NP, MP, G¹M, R, SRG¹, RMP.
Remarks - During Sikh Guru’s age this form of raag ‘gond’ was pervailing among the Sikh performers.
44
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਗੋਂਡ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Gond (3rd form)
Thaat - kaafi
Jaati - vakar sampuran- sampuran
Sur- gandhaar komal, both nishaad, rest all shuddh.
Varjit -none
Vaadi - pancham
Samvaadi - sharhaj
Time - mid-night
Aroh – SN*S, G¹, RM, RP, MPDSº.
Avroh - SºDN¹P, DMP, GMRS.
Mukh-Ang - DRºSº, N¹P, DN¹P, MP, G¹MRS, N*S.
Remarks - Flavour of this raag is used in the formation of raag ‘gond malhaar’.
45
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਜੈਜਾਵੰਤੀ Jaijaavanti
Thaat - khamaaj
Jaati - sampuran sampuran
Sur - both gandhaar, both nishaad, rest all shuddh.
Varjit - none
Vaadi - rishav
Samvaadi - pancham
Time - 2nd quarter of night.
Aroh- SRR, RG¹RS, N¹DP, GR, GMDNSº.
Avroh- SºN¹DP, DM, RG¹RS, N¹*SD*N¹*R.
Mukh-Ang - N¹DP, GR, RG¹RS, N¹*SDN¹* ,GR
Remarks-Rishav is applied with stress in a particular way and this stressed mode is the major indication of this raag. Komal gandhaar remains nested between two gandhar as ‘RG¹R’.
46
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਜੈਤਸਰੀ Jaitsari
Thaat - poorvi
Jaati - sampuran-sampuran
Sur - rishav dhewat komal, madhyam teevar, rest all huddh.
Varjit - rishav and dhewat in aroh
Vaadi - gandhaar
Samvaadi - nishaad
Time - 4th quarter of day.
Aroh - S, N*S, GP, M¹D¹P, NSº.
Avroh- SºND¹P, M¹G, M¹G, R¹S.
Mukh-Ang - SGP, M¹D¹P, M¹G, M¹G, R¹S, N*S.
Remarks - It is an impressive blent of raag ‘jait’ and raagg ‘siree’ of ‘poorvi’thaat.
47
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਟੋਡੀ Todee
Thaat - torhee
Jaati - sampuran sampuran
Sur - rishav gandhaar dhewat komal, madhyam teevar, rest all shuddh.
Varjit - none
Vaadi - dhewat
Samvaadi - gandhaar
Time - 2nd quarter of day
Aroh - S, R¹G¹, M¹P, M¹D¹, NSº.
Avroh- SºND¹, P, M¹PD¹, M¹G¹, R¹G¹R¹S.
Mukh-Ang - D¹NS, R¹, S, M¹G¹, R¹G¹, R¹S.
Remarks - Pancham sur is kept least.
48
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਤਿਲੰਗ Tilang
Thaat - khamaaj
Jaati - aurhav aurhav
Sur - both nishaad rest all shuddh
Varjit - rishav and dhewat
Vaadi -gandhaar
Samvaadi - nishaad
Time - 2nd quarter of night.
Aroh - N*S, GMP, NSº.
Avroh- SºN¹P, GMG, S.
Mukh-Ang - N¹P, GMG, S .
Remarks - It is a very suitable raag for singing songs like ‘thumree’. Shuddh rishav is also used in antraa.tukhaari
49
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਤਿਲੰਗ ਕਾਫੀ Tilang Kaafi
Thaat - kaafi
Jaati - aurhav shaarhav
Sur-both gandhaar, both nishaad, rest all shuddh.
Varjit- rishav dhewat in aroh, dhewat in avroh.
Vaadi- gandhaar
Samvaadi - nishaad
Time - 2nd quarter of night.
Aroh - SG, MP, NSº.
Avroh - SºN¹P, MG, MG¹, RS.
Mukh-Ang - N¹P, GMG, MG¹, RS.
Remarks - Many performers use shuddh dhewat in aroh.
50
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਤੁਖਾਰੀ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Tukhaari (1st form)
Thaat - none
Jaati-aurhav sampuran
Sur - gandhaar komal, both madhyam, both nishaad rest all shuddh.
Varjit - rishav and dhewat in aroh
Vaadi - pancham
Samvaadi - sharhaj
Time - 4th quarter of day.
Aroh - S, N*SG¹M¹P, DN¹DP, DMP, NSº.
Avroh- SºN¹DP, M¹PG¹, SR, S.
Mukh-Ang – N*SG¹M¹P, G¹M¹PG, SR¹, S .
Remarks - Dhewat is skipped while sinking into sharhaj in aroh.
51
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਤੁਖਾਰੀ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Tukhaari (2nd form)
Thaat -poorvi
Jaati - aurhav shaarhav ôô
Sur - rishav dhewat komal, madhyam teevar, rest all shuddh.
Varjit- sharhaj pancham in aroh, pancham in avroh.
Vaadi - dhewat
Samvaadi - rishav
Time – morning.
Aroh - N*R¹S, N*R¹GM¹D¹, NSº.
Avroh- N*R¹ºSº, R¹ND¹, M¹D¹ND¹, MGR¹, S.
Mukh-Ang – N*R¹GM¹D¹, M¹GR¹, S, N*R¹S .
Remarks - This raag was created by 1st Sikh Guru Sri Guru Nanak Dev ji.
52
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਤੁਖਾਰੀ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Tukhaari (3rd form)
Thaat - none
Jaati - vakar sampuran
Sur - both gandhaar, both madhyam, rest all shuddh.
Varjit -none
Vaadi - pancham
Samvaadi - rishav
Time – morning
Aroh - SR, GMP, M¹PDNSº.
Avroh- SºNDP, M¹P, MG, MG¹RS.
Mukh-Ang - GMP, MG, MG¹RS .
Remarks - Teevar madhyam is always and immediately followed by pancham hence teevar madhyam is reduced wth pancham to a proper extent.
53
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਦੇਵ ਗੰਧਾਰੀ Dev Gandhaari
Thaat- none
Jaati - aurhav sampuran
Sur - both dhewat, both nishaad, rest all shuddh.
Varjit - gandhaar and nishaadin aroh
Vaadi - madhyam
Samvaadi - sharhaj
Time - 1st quarter of day.
Aroh - SRMP, D¹N¹D¹P, DMPDSº.
Avroh- SºNDP, MPD¹N¹D¹¹P, MG, SRM .
Mukh-Ang - MMPP, D¹N¹D¹P, PMG, SRM .
Remarks - Sources of this raag are the constituents of raag ‘aasa’ and rag ‘asaavari’.
54
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਦੇਵ ਗੰਧਾਰ Dev Gandhaar
Thaat - asaavari
Jaati - aurhav sampuran
Sur - gandhaar dhewat nishaad komal, rest all shuddh.
Varjit - rishav and dhewat in aroh
Vaadi - dhewat
Samvaadi - gandhaar
Time - 1st quarter of day.
Aroh - S MG¹MP, N¹Sº.
Avroh- SºN¹D¹, P, MP MG¹, RS .
Mukh-Ang - D¹, MP, Sº, RºSº, N¹D¹, P, G¹MP, S, MG¹RS.
Remarks -This raag is considered as an union of suitable segments from raag ‘dhanaasari’and ‘jaunpuri’.
55
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਧਨਾਸਰੀ (ਕਾਫੀ ਥਾਟ) Dhanaasari (kaafi that)
Thaat - kaafi
Jaati - aurhav sampuran
Sur - gandhaar nishaad komal, rest all shuddh.
Varjit – aroh rishav and dhewat
Vaadi - pancham
Samvaadi - sharhaj
Time - 3rd quarter of day.
Aroh - S, MGMP, N¹Sº.
Avroh- SºN¹DP, MG¹, PG¹, MG¹RS.
Mukh-Ang - S, G¹MP, MPG¹, RS.
Remarks - On frequent pause on madhyam an interference of raag ‘bhimplaasi’ is observed.
56
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਧਨਾਸਰੀ (ਭੈਰਵੀ ਥਾਟ) Dhanaasari (bhairivi thaat)
Thaat - bhairvi
Jaati - aurhav sampuran
Sur - all komal
Varjit - rishav and dhewat in aroh.
Vaadi - pancham
Samvaadi - sharhaj
Time - 3rd quarter of day.
Aroh - S, N¹S, G¹MP, N¹Sº.
Avroh- SºN¹D¹P, MG¹, PG¹, PMP, MG¹R¹S.
Mukh-Ang - S, G¹MP, MPG¹, PMPMG¹R¹S.
Remarks - Often pancham sur is taken as terminating sur (note) for all taan and alaap.
57
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਨਟ Nat
Thaat - bilaawal
Jaati - vakar sampuran
Sur - all shuddh
Varjit -none
Vaadi - madhyam
Samvaadi - sharhaj
Time - 2nd quarter of night.
Aroh - S, GM, PGM, RGMP, DNSº.
Avroh- SºD, NP, MG, RG, MP, SRS.
Mukh-Ang - SGM, PGM, RGMPG, SRS .
Remarks - It is a very strong radical raag. A great number of raag are formed by this radical, to mention a few are : nat-malhaar, nat-bhairav, chhaya-nat, nat-naraain etc.
58
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਨਟ ਨਾਰਾਇਣ Nat Naraain
Thaat - bilaawal
Jaati - vakar sampuran
Sur - all shuddh
Varjit - none
Vaadi - pancham
Samvaadi - rishav
Time - 2nd quarter of night.
Aroh - SRS, RGMRS, GMP, DNSº.
Avroh- SºDNP, GMDP, GMR, S.
Mukh-Ang - SRS, P, GMDP, GMR, S.
Remarks - Nishaad is very feeble in avroh.
59
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਪ੍ਰਭਾਤੀ Prbhaati
Thaat -bhairv
Jaati - sampuran sampuran
Sur - rishav dhewat komal, both madhyam, rest all shuddh.
Varjit - none
Vaadi - madhyam Samvaadi - sharhaj
Time - 4th quarter of night.
Aroh - SR¹GM, M¹MG, MPD¹NSº.
Avroh- SºND¹P, M, D¹M, M¹MG, R¹, R¹S .
Mukh-Ang - M, GMM¹, M¹M, GMGR¹, S, N*N*S.
Remarks - Certin selected subparts of raag ‘lalit’ and raag ‘bhairv’ are put together in a logical consequence thence this raag is formed.
60
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਪ੍ਰਭਾਤੀ ਬਿਭਾਸ Prbhaati Bibhaas
Thaat - bhairv
Jaati - vakar sampuran
Sur-rishav dhewat komal, both madhyam, rest all shuddh.
Varjit - none
Vaadi - madhyam
Samvaadi - sharhaj
Time - 4th quarter of night.
Aroh- S, R¹GM, MM¹G, PG, R¹S, GMD¹NSº.
Avroh- SºND¹P, D¹M, MM¹G, PG, R¹S.
Mukh-Ang - SR¹GM, D¹M, M, M¹G, PG, R¹S.
Remarks - It is a logical derivation of raag taking raag ’prbhaati’ and raag ‘bibhaas’ as primes.
61
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
61. ਪ੍ਰਭਾਤੀ ਦਖਣੀ Prbhaati Dakhani
Thaat - asaavari
Jaati - vakar sampuran
Sur-gandhaar dhewat nishaad komal, rest all shuddh.
Varjit - none
Vaadi - dhewat
Samvaadi - gandhaar
Time - 1st quarter of day.
Aroh - S, GM¹D¹, R¹ºSº.
Avroh- Sº, R¹ºND¹, P,M¹G, M¹G,R¹S.
Mukh-Ang - GM¹GM¹D¹R¹ºSº, R¹ºND¹P, M¹G, M¹G .
Remarks - This raag belongs oto Southern stream of Indian classical music.
62
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਬਸੰਤ Basant
Thaat - poorvi
Jaati - shaarhav sampuran
Sur - rishav dhewat komal, both madhyam, rest all shuddh.
Varjit - pancham in aroh
Vaadi - sharhaj
Samvaadi - pancham
Time - 3rd quarter of night.
Aroh - S, GM¹D¹, R¹ºSº.
Avroh- Sº, R¹ºND¹, P, M¹G, M¹G, R¹S.
Mukh-Ang - GM¹GM¹D¹R¹ºSº, R¹ºND¹P, M¹G, M¹G.
Remarks - Extinsically ‘lalit’ ang is used in it as: SM, M¹MG.
63
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਬਸੰਤ ਹਿੰਡੋਲ Basant Hindol
Thaat-. none
Jaati-vakar sampuran
Sur-rishav komal, both madhyam, both dhewat, rest all shuddh.
Varjit - none
Vaadi - sharhaj
Samvaadi -pancham
Time - 3rd quarter of night.
Aroh - SM, MG, M¹DNDSº.
Avroh- Sº, RºND¹,P, M¹G, M¹GR¹S.
Mukh-Ang - M¹DNDSº, R¹ºND¹P, M¹G, M¹G .
Remarks - It is a rightly reasoned medley from raag ‘basant’ and raag ‘hindol’.
64
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਬਿਹਾਗੜਾ Bihaagrha
Thaat - bilaawal
Jaati - aurhav sampuran
Sur - both nishaad, rest all shuddh.
Varjit - rishav and dhewat in aroh.
Vaadi - gandhaar
Samvaadi - nishaad
Time - 2nd quarter of night.
Aroh - N*SG, MP, NS.
Avroh - SºNDP, N¹DP, DGMG, PMG, RS.
Mukh-Ang - N¹DP, DGMG, PMG, RS .
Remarks - Pause on madhyam binds attention i.e.is very pleasant.
65
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਬਿਭਾਸ (ਭੈਰਵ ਥਾਟ ) Bibhaas (bhairv thaat)
Thaat - bhairv Jaati -aurhav aurhav
Sur - rishav dhewat komal, rest all shuddh.
Varjit - madhyam and nishaad
Vaadi - dhewat Samvaadi - rishav
Time - 1st quarter of day.
Aroh - SR¹GP, D¹, Sº.
Avroh- SºD¹, P, GP, GR¹, S.
Mukh-Ang - PD¹, D¹P, GPD¹P, GR¹, S .
Remarks - Cluster ofgandhaar and pancham is very attractive.
66
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਬਿਭਾਸ (ਮਾਰਵਾ ਥਾਟ ) Bibhaas (maarva thaat)
Thaat - maarva
Jaati - sampuran sampuran
Sur-rishav both, madhyam teevar, rest all shuddh.
Varjit - none
Vaadi - dhewat
Samvaadi - gandhaar
Time – morning
Aroh - S, R¹G, M¹G, PDNDSº.
Avroh- Sº, ND, M¹D, M¹G, PGR¹S.
Mukh-Ang - GPD, M¹D, ND, M¹G, PG, R¹S.
Remarks - It is an ancient and attractive raag, notwithstanding it is not popular.
67
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਬਿਭਾਸ ਪ੍ਰਭਾਤੀ Bibhaas Prbhaati
Thaat - bhairv
Jaati - vakar sampuran
Sur-rishav dhewat komal, both madhyam, rest all shuddh.
Varjit - none
Vaadi - dhewat
Samvaadi - rishav
Time - 1st quarter of day.
Aroh - SR¹GP, D¹D¹P, GMPD¹, N*Sº.
Avroh- SºND¹P, MM¹MG, PGR¹S.
Mukh-Ang - GPD¹, D¹P, MM¹MG, PGR¹S .
Remarks- In this raag clusters ‘SR¹GP’, and ‘PGR¹S’ are something less than the whole of raag ‘bibhas’ i.e. they indicate radicals of raag bibhaas in it.
68
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਬਿਲਾਵਲ ਗੋਂਡ Bilaawal Gond
Thaat - bilaawal
Jaati - vakar sampuran
Sur - both nishaad, rest all shuddh.
Varjit - none
Vaadi - gandhaar Samvaadi- dhewat
Time - 2nd quarter of day.
Aroh - S, GMGR, MG, GPDNSº.
Avroh- Sº, NSº, DP, GPMG, RGMGR, N*RS .
Mukh-Ang-GP, N¹N¹DP, GMRMG, R, N*RS .
Remarks -It is an appropriately reasoned assemblage of subparts of raag ‘bilaawal’ and raag ‘gond’.
69
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
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69. ਬਿਲਾਵਲ ਦਖਣੀ Bilaawal Dakhani
Thaat – none
Jaati-aurhav sampuran
Sur - gandhaar komal, rest all shuddh.
Varjit - gandhaar and nishaad in aroh.
Vaadi - dhewat
Samvaadi - rishav
Time - 1st quarter of day.
Aroh - SR, MPD, Sº.
Avroh- SºND ,P, MG¹RS.
Mukh-Ang - RMP, MPD, MP, DMG¹R, S.
Remarks - This raag belongs to Southern stream of Indian classical music. Nishaad is niggardised i.e. is used in small extent.
70
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਬਿਲਾਵਲ ਮੰਗਲ Bilaawal Mangal
Thaat - bilaawal
Jaati-shaarhav-vakar sampuran
Sur - all shuddh
Varjit - none
Vaadi - madhyam
Samvaadi - sharhaj
Time - 1st quarter of day.
Aroh - SG, GMRS, GMDNSº.
Avroh- SºNDP, DM, PG, GMR, S.
Mukh-Ang - DM, GMDPM, PG, GMR, S.
Remarks -This raag is said to be a rightly grounded derivation treatig raag ‘bilaawal’ and raag ‘manglan’ as primes. Clusters ÒDMÓ and ÒPG, GMRÓ belongs to raag ‘manglan’.
71
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਬੈਰਾੜੀ Bairaarhi
Thaat - maarva
Jaati - vakar sampuran
Sur - rishav komal, madhyam teevar, rest all shuddh.
Varjit - none
Vaadi - gandhaar
Samvaadi - dhewat
Time - 4th quarter of day.
Aroh - S, N*R¹GP, M¹G, PDSº.
Avroh- Sº, R¹ºNP, PDG, M¹DM¹G, PGR¹S.
Mukh-Ang - G, PDG, M¹D, M¹G, R¹G, M¹G, R¹S.
Remarks - Madhyam and nishaad are feeble in aroh.
72
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਭੈਰਵ Bhairav
Thaat - bhairv
Jaati - sampuran sampuran
Sur - rishav dhewat komal, rest all shuddh.
Varjit - none
Vaadi - dhewat
Samvaadi - rishav
Time - morning
Aroh - SR¹GMPD¹, NSº.
Avroh- SºND¹, P, MGR¹, S.
Mukh-Ang - SGMPND¹ND¹P, GMGMR¹MR¹, S.
Remarks -Andolan is applied on rishav while treating madhyam as grace note and for andolan on dhewat nishaad is taken as grace note.
73
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਮਲਾਰ (ਬਿਲਾਵਲ ਥਾਟ) Malaar (bilaawal that)
Thaat - bilaawal
Jaati - aurhav aurhav
Sur - all shuddh
Varjit - gandhaar and nishaad
Vaadi - madhyam Samvaadi - sharhaj
Time - 2nd quarter of night.
Aroh - S, RMRP, MPDSº.
Avroh- Sº, DPM, MRS.
Mukh-Ang - S, RMRP, MPDSº, DPM, RM, MRS.
Remarks - It is very rare raag.
74
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਮਲਾਰ (ਕਾਫੀ ਥਾਟ) Malaar (kaafi that)
Thaat - kaafi
Jaati- aurhav aurhav
Sur - both nishaad, rest all shuddh.
Varjit - gandhaar and dhewat
Vaadi - pancham
Samvaadi - sharhaj
Time - 3rd quarter of night.
Aroh - S, RM, RP, MPN¹NSº.
Avroh- SºN¹P, N¹P, MPMM, MR, S .
Mukh-Ang - MPN¹NSº, N¹P, MR, MP, MM, R, S.
Remarks -In aroh komal nishaad and teevar nishaad are adjoined.
75
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਮਾਝ (ਕਾਫੀ ਅੰਗ) Maajh (kaafi ang)
Thaat - kaafi
Jaati - aurhav sampuran
Sur-both gandhaar, both nishaad, rest all shuddh.
Varjit - none
Vaadi - rishav
Samvaadi - pancham
Time - 2nd quarter of day.
Aroh - SR, MP, NSº.
Avroh - SºN¹DP, DMGM, RP, MG¹, RG¹, SR, N*S.
Mukh-Ang - RP, DMP, GMRP, G¹RG¹, SR, N*S.
Remarks - This form of raag ‘maajh’ is very popular.
76
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਮਾਝ (ਬਿਲਾਵਲ ਅੰਗ) Maajh (bilaawal ang)
Thaat - bilaawal
Jaati - shaarhav sampuran
Sur - all shuddh
Varjit - madhyam in aroh
Vaadi -rishav
Samvaadi - pancham
Time - 2nd quarter of day.
Aroh - SR, GRP, NDSº.
Avroh- SºNDP, DMGM, RP, MGMR, SR, N*S.
Mukh-Ang-RP, GRP, DMGM, RP, MGMR, SR, N*S.
Remarks -In aroh pauses on dhewat are very attractive.
Bilaawal.
77
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਮਾਝ ( ਖਮਾਜ ) Maajh (khamaaj ang)
Thaat - khamaaj
Jaati - aurhav sampuran
Sur - both nishaad, rest all shuddh.
Varjit - rishav dhewat
Vaadi -rishav
Samvaadi - pancham
Time - 2nd quarter of day.
Aroh - N*SG, RP, MP, NSº.
Avroh- SºN¹DP, MP, DM, GMRP, MG, SR, N*S.
Mukh-Ang - MP, DM, GMRP, MG, SR, N*S.
Remarks -During Sikh Guru’s age this raag was a part of regular performances by Rabaabies.
78
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਮਾਰੂ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Maaru (1st form)
Thaat - maarva
Jaati -aurhav shaarhav
Sur-rishav komal , madhyam teevar, rest all shuddh.
Varjit - sharhaj and pancham in aroh, pancham in avroh.
Vaadi - rishav
Samvaadi - dhewat
Time - 4th quarter of day.
Aroh - N*R¹, GM¹D, NR¹ºSº.
Avroh - R¹ºND, M¹GR¹, S.
Mukh-Ang - DM¹GR¹, GM¹G, R¹, S.
Remarks -Its modern name is ‘maarva’ and is very popular.
79
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਮਾਰੂ (ਦੂਜਾ ਪ੍ਰਕਾਰ), Maaru (2nd form)
Thaat - bilaawal
Jaati - aurhav sampuran
Sur - all shuddh
Varjit - rishav dhewat in aroh
Vaadi - gandhaar
Samvaadi - nishaad
Time - 2nd quarter of night.
Aroh - SM, MG, GMP, NSº.
Avroh - SºNDP, DM, PG, MG, SR, S.
Mukh-Ang – SRSN*, SM, MG, GMPNP, DM, PG, SR,S.
Remarks - It is used as a radical in the raag ‘maaru bihag’ and raag ‘maaru kaafi’.
80
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਮਾਰੂ (ਤੀਜਾ ਪ੍ਰਕਾਰ), Maaru (3rd form)
Thaat - khamaaj
Jaati - aurhav sampuran
Sur - both nishaad, rest all shuddh.
Varjit - none
Vaadi - gandhaar
Samvaadi - nishaad
Time - 3rd quarter of day.
Aroh - N*SG, MP, NSº.
Avroh - SºNDP, MG, RS.
Mukh-Ang - MP, DP, PG, MG, SR, S, N*N*GS.
Remarks - It is used as radical in raag ‘maaru kaafi’.
81
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਮਾਰੂ ਕਾਫੀ Maaru Kaafi
Thaat - kaafi
Jaati - aurhav sampuran
Sur-both gandhaar ,both nishaad, rest all shuddh.
Varjit - rishav dhewat in aroh
Vaadi- gandhaar
Samvaadi - nishaad
Time - 2nd quarter of night.
Aroh - N*S, GMP, NSº.
Avroh- SºN¹DP, DMPG, MG¹, SR, S.
Mukh-Ang - SGMP, GMDP, DMPG, MG¹, SR, S.
Remarks - It is derived from raag‘maaru’(2nd form) and raag ‘kaafi’.
82
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਮਾਰੂ ਦਖਣੀ Maaru Dakhni
Thaat - bhairv
Jaati - shaarhav sampuran
Sur - rishav dhewat komal, rest all shuddh.
Varjit -rishav in aroh.
Vaadi - dhewat Samvaadi - rishav
Time - 1st quarter of day.
Aroh - SG, MP, D¹ND¹P, Sº.
Avroh- SºND¹, P, MD¹MP, MGR¹, S.
Mukh-Ang - PMD¹, D¹, ND¹, MP, MGR¹, S.
Remarks -This raag belongs to Southern stream of Indian classical music.
83
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਮਾਲੀ ਗਉੜਾ Maali Gaurha
Thaat - maarva
Jaati - sampuran sampuran
Sur - rishav komal, madhyam teevar, both dhewat, rest all shuddh.
Varjit - none
Vaadi - rishav
Samvaadi - pancham
Time - 4th quarter of day.
Aroh- S, N*R¹G, N*R¹S, SP, M¹D¹M¹G, M¹DSº.
Avroh- Sº, NR¹ºND, M¹NDM¹G, M¹G, R¹, S.
Mukh-Ang - DNSR¹º, ND¹P, M¹G, M¹D, S,N*R¹G,N*R¹S.
Remarks -This raag has a very serious mood.
84
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਰਾਮਕਲੀ Raamkali
Thaat - bhairv
Jaati - sampuran sampuran
Sur - rishav dhewat komal, both madhyam, both nishaad, rest all shuddh
Varjit - none
Vaadi - dhewat
Samvaadi - rishav
Time - sunrise
Aroh - SG, MP, D¹NSº.
Avroh- SºND¹P, M¹P, D¹N¹D¹P, GMR¹S.
Mukh-Ang - D¹, P, M¹PD¹P, GMR¹, S.
Remarks - This raag is comparativly less serious than bhairv. Andolan on rishav is very weak and this raag has four more types.
85
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਰਾਮਕਲੀ ਆਨੰਦ Raamkali Anand
Thaat-. none
Jaati - vakar sampuran
Sur - both rishav, both madhyam, both nishaad, rest all shuddh.
Varjit - none
Vaadi - madhyam
Samvaadi - sharhaj
Time - 1st quarter of day.
Aroh- S, N*SGG, M, GMP, M¹PDN¹DP, M¹PSº.
Avroh - Sº, NSº, DN¹DP, M¹PM, GMR¹R¹S.
Mukh-Ang - M¹PDN¹DP, M, GM, GMR¹R¹S.
Remarks -This raag is the creation of 3rd Sikh Guru Sri Guru Amar Dass ji.
86
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਰਾਮਕਲੀ ਦਖਣੀ Raamkali Dakhni
Thaat - bhairv
Jaati - aurhav sampuran
Sur - rishav dhewat komal, rest all shuddh.
Varjit - madhyam and nishaad in aroh.
Vaadi - dhewat Samvaadi - rishav
Time - before dawn
Aroh - S, R¹, GPD¹, Sº.
Avroh - Sº, R¹ºND¹, M¹D¹M¹MG, R¹S.
Mukh-Ang - SR¹, GPD¹D¹P, MGR¹R¹S.
Remarks -This raag belongs to Southern stream of Indian classical music.
87
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਲਲਿਤ Lalit
Thaat - poorvi
Jaati - aurhav shaarhav
Sur-rishav dhewat komal, both madhyam, rest all shuddh.
Varjit - pancham nishaad in aroh and pancham in avroh.
Vaadi -madhyam
Samvaadi - sharhaj
Time - 4th quarter of night.
Aroh - S, N*R¹GM, M¹MG, M¹D¹Sº.
Avroh- Sº, R¹ºND¹, M¹D¹M¹MG, R¹S.
Mukh-Ang - S, N*R¹GM, M¹M, D¹M¹MG.
Remarks - It is a very suitable raag to express the very tender emotions. The pitch of teevar madhyam always remains somewhat lower than the standard one. Performers of South-West of India use shuddh dhewat instead of komal dhewat.
88
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਵਡਹੰਸ Vadhans
Thaat - khamaaj
Jaati - shaarhav sampuran
Sur - both nishaad, rest all shuddh.
Varjit - gandhaar in aroh
Vaadi - rishav Samvaadi - pancham
Time - mid-day
Aroh - S, RMP, DN¹P, MPNSº.
Avroh- SºN¹P, DMGRSN*, S.
Mukh-Ang - RMPN¹P, DMGR, RSN*, P*N*S.
Remarks - Pause on mandar nishaad is one of its signs to recognise it.
89
An extract from Giani Darshan Singh Sohal (ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ) Ji’s Raag-Kosh (Gurbani/Kirtan/Keertan/Sikh-Sangeet/Raag/Raga/Sri Guru Granth Sahib Music/Devotional Music/Indian Classical Music)[NOTATION]:
ਵਡਹੰਸ ਦਖਣੀ Vadhans Dakhni
Thaat - khamaaj
Jaati - aurhav-vakar sampuran
Sur - nishaad komal, rest all shuddh
Varjit - in aroh gandhaar and nishaad.
Vaadi - pancham
Samvaadi - sharhaj
Time - 1st quarter of day.
Aroh - S, RMP, D, Sº.
Avroh- SºN¹DP, M, RMG, SRN¹*D*S.
Mukh-Ang - RMP, M, RMG, SRN¹*D*S.
Remarks - It belongs to the southern stream of Indian classical music.
Tags: sigma giani
I believe that Giani Ji has well understood the need of scholars of Devotional Music and Indian Classical Music of certain literature for citation, so he has gone a long to produce such powerful tool of Raag-Kosh to study the various types of Raagas. Giani Ji’s maturity in the subject will bring prosperity to the concern.
The Raag-Kosh contains all the applied theory of Raag to its each and every entry in complete. This wonderful works of Maestro Giani Ji has induced an air current of better understanding of rare raags. Let Giani Ji live long!
I believe that one of your posts ‘Sri Guru Granth Sahib Raag-Kosh’ has triggered the mind of scholars to work densely in the field of Devotional Music and Indian Classical Music. Depth of thinking of intellectuals will accept the supremacy this work done for the benefit of generations.
Do you people have a facebook fan page? I looked for one on twitter but could not discover one, I would really like to become a fan!
Thought I would comment and say great Raag-Kosh, nothing can be better than it. It looks great!
The Raag-Kosh published here is really a challenge for mastermind works. Maestro Giani Darshan Singh Sohal has wrote it in a very impressive way and I feel it will provide a great help to research scolars of music and kirtan.
Hi, Just came back here to remind you regarding the facts about this Raag-Kosh. I have never found such at least on internet. It has really decimated my difficulties in analysing the Indian Classical Music.
For those who might do search for the details for the raags which are obsolete, this Raag-Kosh by Giani Ji is really useful intelectual works.
Hello there, I was browsing your site but I noticed that raags of raag mala are absent in the Sri Guru Granth Sahib Raa-Kosh by Giani Darshan Singh Sohal, thought I ought to let you know.
My sis advised me about your site and how great it is. She’s right, I am really impressed with the kirtan and Raag-Kosh. Other’s Raag-Koshs appear to me they’re simply scratching the floor when it comes to what Giani Ji has accomplished.
An apple a day keeps the doctor away. Giani Ji’ Raag-Kosh can keep confusions about a raag away.
The Raag Kosh given on this site is really a work of appreciation. This Raag Kosh appears tell you clearly all the essentials of every raag enlisted in it. There you cannot find anything which does not go legit.
I like this concept. I visited your site for the first time and simply been your fan. Continue to keep writing as I am planning to come to read it daily!!
I am really experiencing reading Giani Darshan Singh Sohal’s well written Raag-Kosh. It appears like he has spent a lot of effort and time on the Raag-Kosh. I have bookmarked it and I am looking ahead to see something anything more such.
The content on this site is very strong. Style of Raag-Kosh by Giani ji if analysed in accordance with truth is found unique. I congratulate Giani in this regard.
The Raag-Kosh by Maestro Giani Ji is among the works showing inteleclualism, to say what I though textra knowledgeable in it is ‘Mukh-Ang’ of every raag.
I have been reading yoursite for a while now, well at least since you began it, and this is my first comment. I guess that says something about how much people post versus how much people read. Nonetheless, I want to say a big thanks for Giani Ji taking the time out to write. Giani Ji’s is a real maestro and his such brilliant work as Raag-Kosh is so high that even a virtuouso can be dissuaded to go parallel it. I thoroughly enjoy your site and please keep up the brilliant work in 2011.
Very good post. I’ve really enjoyed visiting your pages but Raag-Kosh page is most excellent one. In any case I’ll be subscribing to your feed and I also hope you write again soon! Many thanks, I’ll try and check back more frequently. Happy new year!
Hiya, I was surfing around your website and found that many raags from ‘raag mala’ in the Raag-Kosh were absent. Thought I should inform you so that you may manage to post those missing ones.
I have seen your webpages. Seems like like much to say knowledgeable in especially in the case of Raag-Kosh by Giani Darshan Singh Sohal.
Very good website of music. I am planning to polish the knowledge of Raags from your Raag-Kosh visiting your site posts as I already know sufficient about Indian Classical Music. In any case I’ll be subscribing to your feed and I also hope this site will have more valuable content soon! Many thanks, I’ll try to check back more frequently. Happy new year!
It is every intellectual’s dream to learn a lot and help other to learn so, isn’t it? Maestro Giani Ji’s Raag Kosh works proves that once he dreamed to learn a lot and through his Raag-Kosh he has managed to help others to learn a lot. Hence his dream has been fullfilled. Isn’t it?
Hey! That’s a really great post, I mean the post of Raag-Kosh. I’m very positive I will counsel it to my colleagues and my students of music.In the event you post such posts more please e-mail them to me.
I am not in a position to decide to thank you for vocal content or the other like Raag-Kosh. Both parts are excellent in their own place. It is my request that if Giani Ji can accept, let Giani Ji illustrate each raag of Raag-Kosh by their own voice.
I must say that overall I am really pleased with this site especially the useful content of Raag-Kosh.It is easy to see that you are passionate about putting the content created by intelligentsia. If only I had Sohal Ji’s writing capability I will enjoy much more posts and will be go on without a brake and a break.
I’m linking the webpage of your Raag-Kosh page which is a great hitting page from my personal weblog . This has all the usefull info necessary.
When I am happened to reach this site through google, the page of site containing Raag-Kosh by Kirtan Maestro Giani Sohal Ji took me as the wind. It is a great post for the service of Gospel and Indian Classical Music.
Brevity can be said the beauty of this Raag-Kosh.