Giani Darshan Singh Sohal is one of the most celebrated musicians in the field of Classical Gurbani Kirtan. His felicitous Kirtan performances reveal a well-judged elaboration of masterful improvisations of raga notes and skilful handling of rare melodic compositions and unusual Taals (rhythms). In addition, the purity of raga and clarity of recitation of Gurbani, even at peak speeds of execution signify an in-depth understanding and knowledge of both Gurbani and Indian Classical Music. This is further augmented by the mesmerising balance of the mode of the raga and central emotion of the Gurbani verses, as well as the fine synchronisation of Gurbani poetic meter and taal.

In year 1933 at District Hoshiarpur, Giani Darshan Singh Sohal Ji was born into a family sensitised to the charm of Indian Classical Music. Music was first introduced into the family by his grandfather, Sant Karam Singh. Giani Ji’s father, Sant Surain Singh, who was a highly regarded scholar of the ‘Vedas’ and Gurbani, carried on the tradition and became a disciple of the Gurbani Kirtan legend Bhai Samund Singh from whom he learnt both Kirtan and Mridang.

Giani Darshan Singh Sohal Ji’s own musical training commenced at a very early age under the instruction of his uncle Sardar Chanchal Singh, who was a student of the Lucknow School of Music. Later, Giani Darshan Singh was graced by the great Shri Almast ji who elevated him to a more profound and spiritual realm of music.

Shri Almast ji belonged to the most authentic Indian traditional school of classical music – ‘Gawalior Ghrana.’ He held Giani Ji in very high esteem and referred to him as his favourite disciple. Over a period of 17 years, Sri Almast Ji bestowed upon Giani Ji a great treasure of music full of exquisite and peerless compositions bursting with lucid and ageless expression.

Giani Darshan Singh Sohal ji has trained and taught kirtan to 3 generations from various countries of the world. He has bestowed this privilege upon many none-Sikhs also. Many of his students reared maestros in too young age. So Giyani ji is not only an artist of consummate skill, he reveals supreme mastery in methodical imparting of musical skills.

He uses different methods to teach to different student categories based on age and level of acquired skill. And many of his high success oriented students feel pride to use his well established methods further to teach their own students.

Giani Ji is quite famous in composing music. His compositions are quite rich in delighting senses for spatial property resulting from well experienced arrangement of melody parts and percussion in relation to each other and to the whole. His compositions abide by all the raga rules of classical music but launches penetrations to the hearts of all laymen to the music terminology and well as to the pundits of the music field.

A great secret behind his great success compositions is his poetical skills. In his young age he wrote many deep poems. All of them were well appreciated by the audience. So he understands the meters of the poetry well, and his this authoritative ability over composing poetry has been proved very boosting to contribute to his progress in producing extraordinarily good and great kirtan compositions.

Giani Darshan Singh Sohal Ji writes well. He is a great author in the domain of Indian Classical Music and Kirtan. He writes simple but effective. He expresses very tough concepts of music using simple vocabulary to invade obscurity of the subject. So he has produced good solutions in some problem domain of music subject by writing very crystal clear approach books well published by Harjit Publications.

In nutshell Giani Ji is a great Music Artist, Kirtankar, Poet, an Excellent Author, Gurbani and Indian Classical Music Scholar. Giani Darshan Singh Sohal Ji is an institution all by himself, the like of which may seldom repeat.

Like most of the Music Maestros in Sohal Ji’s life people of various established professional profile, his colleages and freinds and experts having various ideas have got the opportunity to become a Companion of Giani Ji’s music group. A wide number of them remained in ‘stay in touch’ position with him. Here we are going to meet some of them dominating ones. ‘The last is not the least’ value will satisfy the following list:

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Mr Surinder Singh Jass

Mr Surinder Singh Jass has aquired a deep knowlege of practical and theoretical Indian Classical Music. Melody is his strong section, so he associates Giani Darshan Singh sohal in the melody part of Devotional Music said as Kirtan. He is having a definite quick general conscious awareness toward discriminating the ingrediants of a good music characterized by an appreciation of beauty or good taste.

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Giani Darshan Singh Sohal Ji has taught thousands of students over the world and a great number of them are real proponents of Giani Ji’ Kirtan Style. Meet here some of them. The last in the list is not the least.

Gursharan Singh Mand

S. Gursharan Singh Mand took basic as well advanced training of Kirtan from a great Maestro Giani Darshan Singh Sohal systematically. He also learned Tabla from Giani Ji’s son and won the Haraballabh Festival ( a testimonial greatest festival of Indian Classical Music) in Tabla in his childhood.

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Mani Singh Bitu

Mani Singh Bitu learned kirtan from Maestro Giani Darshan Singh Ji Sohal. He was already knowing some Tabla when he came in contact with Giani Ji. Occasionally he accompanied Giani’s performances with tabla, and super level of melody and advanced structure of Giani Ji’s singing style aroused in him a desire to learn the tabla of advanced stage. To fulfil his this desire he learned advanced Tabla from Maestro of Maestro’s i.e. Giani Ji’s youngest son Sh. Davinder Singh (famous as Vikhyat), and the training was so exponential that he did attain the level of a maestro which resulted in his internationals triumphs.

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Jasbir Sasson

Jasbir Sasson is one of the most brilliant students of Giani Darshan Singh Sohal. Her traditional training has gone long enough under a rare maestro Giani Ji, which resulted in her maturity in classical music and its applictation to Devotional Music. She has learnt and paractised almost all the famous raags and taals and gained the appreciation from her audience including well ripened musicians. _______________________________________________________________________________________________________________________________________

Amrit Kaur Mand

Amrit Kaur Mand has learned more than twenty raags and various styles of music from Giani Ji. She is an excellent vocalist having charming voice and good sense of improvisations.

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Manjit Kaur Sehra

Bibi Manjit Kaur Sehra got basics as well as advanced music training from rigrous teacher Giani Darshan Singh Sohal. And she followed the same style of teaching to teach her own students. Her and her student’s style of kirtan is really an example.

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Harjit Kaur

Bibi Harjit Kaur has become a virtuoso in the field of classical Kirtan under the guidance of a great Kirtan Maestro Giani Darshan Singh Sohal. She has good command over many tough raagas and talas. She is a succesful performer and instructor so is following Giani Ji well.

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Kamaljit Singh Chadha

Mr. Kamaljit Singh Chadha learned the music from Giani Ji and was able to produce his cassete of Kirtan named as ‘Paya Laalu Rattanu Mani’. He is a great Yogi and Yoga Master and has given his wonderful recordings on Yoga.

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Bibi Neelam Kaur Chadha

Bibi Neelam Kaur Chadha has natural talent for music and has become a good singer under Giani Darshan Singh Sohal’s guidance. She has toured a lot and shown her skill in kirtan many where.

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Manbir Singh

S. Manbir Singh has learned music from Sohal Ji. He is a very nice singer and Tabla Player. He has good command over many tough taalas.

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Jasmeet Kaur

Jasmeet Kaur a very sharp mind, so she has learned a lot of tough Classical Kirtan from Kirtan Maestro Giani Darshan Singh Sohal. In her small age a deep digging in raagas and taalas is quite ovbious. Future has really promised her an abundance of.

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Manmohan Singh

S. Manmohan Singh has good knowledge of Classical Music. He is in touch with Giani Ji for further enhancement of theory and practice of Indian Classical Music applied to Kirtan. He is a mature percussionist.

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Virender Choudhry

Mr. Virender Choudhry is one of famous and well learned deciples of Panth Rattan Kirtan Maestro Giani Darshan Singh Sohal. He spent a good part of his age in learning Classical Kirtan from Giani Ji, so his mature style of music performance reflects it.

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Vinita Choudhry

Miss Vinita Choudhry really keeps a  sharp mind, so she has been successful to learn Classical Kirtan from Kirtan Maestro Giani Darshan Singh Sohal. She has digged deep many Raagas and Taalas. A great audience of her is proud of her sweet voice.

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Hitesh Choudhry

Mr. Hitesh Choudhry is having a nice knowledge of Indian Classical Music. He has learned all this from famous Maestro Giani Darshan Singh Sohal. He has gone from basics to advanced Indian classical music under the supervision of Giani Ji.

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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

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NOTATION:

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

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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 .

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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).

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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).

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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< 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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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’.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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Sri Guru Granth Sahib Raag Kosh by Giani Darshan Singh Sohal ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ

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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]:

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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.

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