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Musical Dimension
Sabad 1
Rag Asa
In Gurmat Sangit (Sikh Music), Rag Asa (a musical mode) has a lot of importance. The melodious notes of this rag can be heard everywhere in the land of Panjab. Every morning, the golden rays of dawn stream down together with the sweet melody of ‘Asa Ki Var.’ When the redness of every evening gradually begins to be absorbed in the lap of nature, the melodious notes of this rag sing the praises of ‘So Daru.’

Out of the thirty-one principal rags in the Guru Granth Sahib, Rag Asa has been designated fourth place in the sequence. Under this rag, the Bani of six Gurus and five Bhagats is recorded from page 347 to 488 of the Guru Granth Sahib. It includes one hundred seventy Sabads by Guru Nanak Sahib, fifteen by Guru Angad Sahib, forty-eight by Guru Amardas Sahib, thirty by Guru Ramdas Sahib, one hundred eighty-eight by Guru Arjan Sahib, one by Guru Teghbahadar Sahib, thirty-seven by Bhagat Kabir, five by Bhagat Namdev, six by Bhagat Ravidas, and two each by Bhagat Dhanna, and Baba Farid.
Bhai Joginder Singh Talwara, Bani Biura, part 1, page 103-108.
Guru Nanak Sahib has revealed the greatest number of Sabads in this rag.

There are many prevalent forms of Rag Asa. In earlier times, ragis (professional singers of Sabads from the Guru Granth Sahib) used to sing this rag in various angs (styles or variations). Like Pahari ang, Bilaval ang, Kalian ang, and Kafi ang. Four other forms of Rag Asa are also available in the Guru Granth Sahib, such as Rag Asa Kafi, Asavari Sudhang, Asa Asavari, and Asavari.

Rag Asa does not fall in the category of commonly sung rags of Hindustani music. There is not much information available about this rag in the musicology texts. Another rag similar to this is Rag ‘Mand.’ Even though the same notes are used in both Rag Asa and Rag Mand, they differ in their usage (singing style). Both these rags are considered to be based on folk tunes.

Rag Asa is devotional in nature. Darbari ragi (court musician) and poet of the state of Patiala, Master Bhai Prem Singh, writes in ‘Ratan Sangit Bhandar’ that Rag Asa is obtained from a combination of Srirag, Rag Megh, and Rag Maru. This rag falls in the category of sandhi-prakash rags, which are sung and played during mornings and evenings. This is an utrang vadi rag.
Rag whose prominent note (vadi) falls in the upper part of the octave, i.e., Pa, Dha, Ni, Sa (tar saptak - upper octave).


Rag Asa is Panjab’s famous and melodious rag. Long before Guru Nanak Sahib’s time, the famous ‘Tunde Asraje Di Var’ (an ode to the maimed king Asraj) was also sung in this rag. The Bani of the Bhagat contributors of the Guru Granth Sahib, who predate Guru Nanak Sahib, is also written in this rag. This establishes the fact that this rag was prevalent even before Guru Nanak Sahib’s arrival. Folk legends, songs, stories, and tunes sung and narrated in Rag Asa were extremely pleasing. Because of its unique qualities, outside of the kirtan tradition, Rag Asa is dominant in folk-music, classical music, and cinema also.

Sri Vimalkant Rai Chaudhary has given two forms of Rag Asha in Hindustani music. In one form, notes Re Ga Dha Ni are flat (komal), and in the other form Ni is flat and jati (class) is given as aurav-sharav. This second form of Rag Asha is closer to the Rag Asa prevalent in Gurmat Sangit.
Prof. Kartar Singh, Gurmat Sangit Darpan, part one, page 70.
The same form has been accepted by the Rag Nirnayak Committee,
Principal Sukhwant Singh (editor), Guru Nanak Sangit Padhati Granth, part-1, page 10.
which is as follows:

Description of Rag Asa
That: Bilaval.
Svar (notes): all natural/normal (shudh).
Varjit Svar (forbidden notes): Ga and Ni in ascending scale (aroh).
Jati: aurav-sampuran.
Vadi: Ma.
Samvadi: Sa.
Aroh (ascending scale): Sa, Re Ma, Pa, Dha Sa (tar saptak - upper octave).
Avroh (descending scale): Sa (tar saptak - upper octave) Ni Dha Pa, Ma, Ga Re Sa Re Ga Sa.
Mukh Ang/Pakar (Main Part): Re Ma, Pa, Dha Sa (tar saptak - upper octave), Ni Dha Pa Ma, Ga Sa Re Ga Sa.

Singing Time
The first-quarter of the morning (dawn) and the evening (dusk).

Sabad 2
Rag Sorath
Out of the thirty-one principal rags in the Guru Granth Sahib, Rag Sorath (a musical mode) has been designated ninth place in the sequence. Under this rag, the Bani of six Gurus and four Bhagats is recorded from page 595 to 659 of the Guru Granth Sahib. It includes eighteen Sabads by Guru Nanak Sahib, one by Guru Angad Sahib, sixty-three by Guru Amardas Sahib, forty-five by Guru Ramdas Sahib, ninety-seven by Guru Arjan Sahib, twelve by Guru Teghbahadar Sahib, eleven by Bhagat Kabir, three by Bhagat Namdev, seven by Bhagat Ravidas, and two by Bhagat Bhikhan.
Bhai Joginder Singh Talwara, Bani Biura, part 1, page 103-110.


According to Dr. Kirpal Singh, Rag Sorath originated from the Saurashtra region. The area is now part of the state of Gujarat in India.
Dr. Kirpal Singh (editor), Sri Gur Partap Suraj Granth Vichon Sri Guru Arjan Dev Ji Da Jivan-Birtant, part two, page 44.
With the references of Janamsakhis, Harpal Singh Pannu writes that while Guru Nanak Sahib was on his missionary travels/journeys (udasis), they reached a human settlement after a journey of several months. Seeing people, Bhai Mardana asked the Guru, what country is this? Neither do they understand our language, nor do we understand their language. The Guru said, we have arrived in Saurashtra. Rag Sorath belongs to this country. Get up Mardana, pick up the Rabab (rebeck). Play the tunes of Sorath.
Dr. Harpal Singh Pannu, Bhai Mardana Ji, Marasi Kabila Te Bhai Mardana, Ballam Limba (editor), page 93.


Sorath is a very simple and sweet rag. It is a serious rag based on the mood of detachment, which is very suitable for expressing devotional love (bhagti-bhav).
Dr. Gurnam Singh, Gurmat Sangit Parbandh Te Pasar, page 102.
Guru Nanak Sahib, Guru Ramdas Sahib, and Guru Arjan Sahib have mentioned this rag in their Bani in the context of the Nam of IkOankar (the Divine). According to Guru Nanak Sahib, singing Sorath is always pleasant if, through it, one seeks and praises IkOankar:
soraṭhi sadā suhāvaṇī je sacā mani hoi. -Guru Granth Sahib 642.

According to Guru Ramdas Sahib, it is pleasant to sing Sorath only if, through it, one seeks and praises the Nam of IkOankar:
soraṭhi tāmi suhāvaṇī jā hari nāmu ḍhanḍhole. -Guru Granth Sahib 642.

Similarly, Guru Arjan Sahib states that one ought to, through Rag Sorath, sip the nectar of the Nam of IkOankar, which never fades:
soraṭhi so rasu pījīai kabahū na phīkā hoi. -Guru Granth Sahib 1425.

In the above lines revealed by Guru Nanak Sahib and Guru Ramdas Sahib, the use of the adjective ‘suhāvaṇī’ (pleasant) with the word ‘sorathi’ presents Sorath as a ragini. Bhai Vir Singh has also considered Sorath the ragini of Rag Megh. In the ‘Ragmala’ recorded in the Guru Granth Sahib, Sorath is also described as the ragini of Rag Megh:
soraṭhi goṁḍ malārī dhunī. puni gāvahi āsā gun gunī. -Guru Granth Sahib 1430.

According to Professor Kartar Singh, Rag Sorath is the ragini of Rag Megh as per the Hanuman school of thought, while it is described as a ragini of Rag Nat Narayan in other schools of thought. The scholars of Hindustani music believe Rag Sorath to have formed from Khamaj that. Rag Sorath is formed by the combination of Rag Sindhvi, Rag Kanra, Rag Kaphi, and Rag Malar. It falls in the category of purvang
Rag whose vādī (prominent) note falls in the lower part of the octave, that is, Sa, Re, Ga, Ma
vadi rags.
Prof. Kartar Singh, Gurmat Sangit Darpan, part-one, page 214.


Scholars such as S. Gian Singh Abbottabad,
S. Gian Singh Abbottabad, Gurbani Sangit, part one, page 103.
Bhai Avtar Singh and Bhai Gurcharan Singh,
Bhai Avtar Singh Bhai Gurcharan Singh, Gurbani Sangit Prachin Rit Ratnavali, part-one, page 283.
Prof. Tara Singh,
Prof. Tara Singh, Sri Guru Granth Sahib Rag Ratnavali, page 113.
Dr. Gurnam Singh,
Dr. Gurnam Singh, Gurmat Sangit Parbandh Te Pasar, page 102.
etc., and the Rag Nirnayak Committee
Principal Sukhwant Singh (editor), Guru Nanak Sangit Padhati Granth, part-1, page 25.
have approved the following form of Rag Sorath:

Description of Rag Sorath
Rag: Sorath.
That: Khamaj.
Svar (notes): both Ni, rest all notes are natural/normal (shudh).
Varjit Svar (forbidden notes): Ga and Dha in ascending scale (aroh), and the use of Ga in descending scale (avroh) only through mind.
Vibration of the notes. Production of a trembling sound from the throat or strings.

Jati (class): aurav-sampuran.
Vadi (prominent note): Re.
Samvadi (sub-prominent note): Dha.
Aroh (ascending scale): Sa Re Ma Pa, Ni Sa (tar saptak - upper octave).
Avroh (descending scale): Sa (tar saptak - upper octave) Re (tar saptak - upper octave) Ni (komal - flat) Dha, Ma Pa Dha Ma GaRe, Ni (mandar saptak - lower octave) Sa.
Mukh Ang/Pakar (Main Part): Sa Re, Ma Pa, Ni (komal - flat) Dha, Pa, Dha Ma GaRe, Ni (mandar saptak - lower octave) Sa.

Singing Time
The second quarter of the night.

Sabad 3
Rag Sirirag
Out of the thirty-one principal rags in the Guru Granth Sahib, Sirirag or Srirag
It has been written in both ways in the Guru Granth Sahib.
(a musical mode) has been designated first place in the sequence. Under this rag, the Bani of five Gurus and four Bhagats is recorded from pages 14 to 93 of the Guru Granth Sahib. It includes sixty Sabads by Guru Nanak Sahib, two by Guru Angad Sahib, seventy-two by Guru Amardas Sahib, thirty-five by Guru Ramdas Sahib, forty-two by Guru Arjan Sahib, two by Bhagat Kabir and one each by Bhagat Trilochan, Bhagat Beni and Bhagat Ravidas.
Bhai Joginder Singh Talwara, Bani Biura, part 1, page 103-108.
  

Sirirag is an old, melodious and complex/tough rag. Regarding this rag, Guru Amardas Sahib has said that Sirirag is the most prominent among all the rags. But the singing of this rag is successful only when the being develops a love for the eternal IkOankar:
rāgā ici srīrāgu hai je saci dhare piāru. -Guru Granth Sahib 83.

Bhai Gurdas also considers this rag to be supreme:
panchīan mai hans mrig rājan mai sārdūl rāgan me sirīrāgu pāras pakhān hai. -Bhai Gurdas ji, Kabit 376/3.

Apart from the Gurmat tradition, various schools of thought that follow the rag-ragini tradition have also considered Sirirag as a significant rag. From a popular mythological perspective, Pandit Oankar Nath Thakur writes, “this is the sixth rag and is named as ‘Siri’ as it is believed to have come/originated from the ‘supreme/glorious’ (sri) mouth of Parvati; the other five rags having originated from the five mouths of Shankar (Shiva).” It is difficult to validate what is true in this mythological perspective, but it can surely be said that it is an old rag.
Prof. Tara Singh, Sri Guru Granth Sahib Rag Ratnavali, page 6.


Prof. Tara Singh’s
Prof. Tara Singh, Sri Guru Granth Sahib Rag Ratnavali, page 7.
belief regarding the placing of this rag at the first position in the sequence of rags of the Guru Granth Sahib is that Guru Arjan Sahib didn’t ignore the classical tradition of Hindustani music. At the time of the compilation of the Guru Granth Sahib, the Guru gave first place to Sirirag, which originated from the natural (shudh)-notes octave of music.

In the Medieval Period, flat (komal) Ga and Ni were used in natural-notes octaves of the rag, which is similar to today’s Kafi that. Earlier, Sirirag was also sung on the notes of Kafi that. Even today, the same form of the rag from Kafi that in the North Indian style is prevalent in the Southern music system, which they called ‘Kharhar Pria.’
Prof. Kartar Singh, Gurmati Sangit Darpan, part one, page 1.


Proponents of the modern that system have classified Sirirag under Purvi that. From a musical perspective, in this rag, Re, Dha are flat, Ma is sharp (tivar) and other notes are natural. In its ascending scale (aroh), there is a practice of forbidding the notes Ga and Dha. In its descending scale (avroh), seven notes are used in the arc style (vakar rit). Consequently, its jati (class) is aurav-vakar sampuran. Its prominent note (vadi) note is Re and sub-prominent note (samvadi) note is Pa. Some scholars consider its prominent note to be Re and sub-prominent note Dha.
Prof Tara Singh, Guru Ramdas Rag Ratnavali, page 2.


Bhai Vir Singh
Bhai Vir Singh, Gurmati Sangit Par Hun Tik Mili Khoj, page 23.
has considered Sirirag to be a pure and refined rag in Gurmat Sangit. Bhai Avtar Singh and Gurcharan Singh,
Bhai Avtar Singh and Bhai Gurcharan Singh, Gurbani Sangit Prachin Rit Ratnavali, part one, page 3-19.
and Sant Sarwan Singh Gandharv and Dr. Gurnam Singh
Prof. Kartar Singh, Gurmati Sangit Darpan, part one, excerpt from page 3.
have described two different forms of Sirirag, namely Purvi that and Kafi that, whereas S. Gian Singh Abbottabad,
S. Gian Singh Abbottabad, Gurbani Sangit, part one, page 6.
Prof. Tara Singh,
Prof. Tara Singh, Sri Guru Granth Sahib Rag Ratnavali, page 7-8.
Rag Nirnayak Committee,
Principal Sukhwant Singh (editor), Guru Nanak Sangit Padhati Granth, part-1, page 1.
etc., have depicted its form as that of Purvi that. The same form is given below: 

Description of Sirirag
Rag: Siri.
That: Purvi.
Svar (notes): Re, Dha are flat (komal), Ma (tivar - sharp), rest all notes are natural/normal (shudh).   
Varjit Svar (forbidden notes): Ga and Dha in ascending scale (aroh).
Jati (class): aurav-sampuran.
Vadi (prominent note): Re.
Samvadi (sub-prominent note): Pa.
Aroh (ascending scale): Sa Re (komal - flat), Ma (tivar - sharp) Pa, Ni Sa (tar saptak - upper octave).
Avroh (descending scale): Sa (tar saptak - upper octave) Ni Dha (komal - flat) Pa, Ma (tivar - sharp), Ga, Re (komal - flat), Sa.
Mukh Ang/Pakar (Main Part): Sa, Re (komal - flat), Re (komal - flat), Pa, Pa Ma (tivar - sharp) Ga Re (komal - flat), Re (komal - flat) Sa.

Singing Time
The dusk time.

Sabad 4
Rag Gauri
Out of the thirty-one principal rags in the Guru Granth Sahib, Rag Gauri (a musical mode) has been designated third place in the sequence. Under this rag, the Bani of five Gurus and three Bhagats is recorded from page 151 to 346 of the Guru Granth Sahib. It includes forty Sabads by Guru Nanak Sahib, thirty-nine by Guru Amardas Sahib, one hundred fifteen by Guru Ramdas Sahib, four hundred sixty-two by Guru Arjan Sahib, nine by Guru Teghbahadar Sahib, one hundred forty-three by Bhagat Kabir, one by Bhagat Namdev and five by Bhagat Ravidas that are recorded under this rag.
Bhai Joginder Singh Talwara, Bani Biura, part 1, page 103-110.


Rag Gauri is of a serious nature OR Gauri is a rag of serious nature. Consequently, the Guru has used this rag to reveal compositions related to thoughtful subjects like mind, consciousness, intellect, soul, death, liberation, etc.
Principal Sukhwant Singh (editor), Guru Nanak Sangit Padhati Granth, part-1, page 7.
The compositions ‘Bavan Akhari’ and ‘Sukhmani’ are also revealed under this rag.

In Gurmat Sangit (Sikh music), Rag Gauri has an important place. The largest number of Sabads in the Guru Granth Sahib are recorded in this rag. Guru Arjan Sahib, while referring to Rag Gauri, says that the human-bride (seeker) can be graceful while singing Rag Gauri only if they enshrine the Divine-Husband in their heart, live by the eternal Wisdom (Guru) and makes it their adornment:
gaüṛī rāgi sulakhṇī je khasmai citi karei.
bhāṇai calai satigurū kai aisā sīgāru karei. -Guru Granth Sahib 311.

Gauri is an old rag. In the old Hindustani texts on music, it is also written as Gori, Gauri, Gavri, or Gauri.
Dr. Ratan Singh Jaggi, Guru Granth Vishvakosh, part one, page 372.
Twenty-two forms of this rag have been prevalent, which were considered to have distinct and independent structure from each other. In these, there is always some element of the principal rag (Gauri), due to which they are also known as ‘ragang-rag’ of Gauri or ‘types of Gauri.’

In the Guru Granth Sahib, ‘Gauri’ appears as a principal rag as well as a mixed rag in eleven different forms. These mixed forms are as follows: Gauri Guareri, Gauri Dakhni, Gauri Bairagan, Gauri Cheti, Gauri Dipki, Gauri Purbi, Gauri Purbi Dipki, Gauri Majh, Gauri Malva, Gauri Mala, and Gauri Sorath.

‘Gauri’ is one of the five songs recorded in ‘Sangit Ratnakar Granth,’ namely Shudha, Bhinna, Gauri, Baisra and Sadharani. It has two forms, ‘Gauri’ and ‘Ohati.’ ‘Gauri’ is a song in which the notes of its rag are rendered in such a way that they seem pleasing to the mind. Its tempo should remain uninterrupted across the lower (mandar saptak), middle (madhya saptak) or upper octaves (tar saptak); it should be pleasing to the ears, and it should also be famous in the Gaurav/Gaur region (an area between East Bengal and Orissa).
Prof. Kartar Singh, Gurmat Sangit Darpan, part one, page 51.


With reference to ‘Ain-i-Akbari,’ Dr. Kirpal Singh expresses two views regarding the origin of this rag: first, the origin of this rag could be in Bengal, and second, Gauri (Shiva’s wife) could be the creator of this rag.
Dr. Kirpal Singh (editor), Sri Gur Pratap Suraj Granth Vichon Sri Guru Arjan Dev Ji Da Jiwan-Birtant, part two, page 46.
From the above views it can be inferred that this rag must have originated in Bengal.

In the rag-ragini system, there are different views regarding Rag Gauri. In Hanuman belief and Bharat belief, this rag is considered to be the ragini of Rag Malkauns.
Prof. Kartar Singh, Gurmat Sangit Darpan, part one, page 51.
According to Bhai Kahn Singh Nabha as well, Gauri is a ragini. Its that is Purbi, jati (class) is aurav-sharav and it also has a part/component of Srirag.
Bhai Kahn Singh Nabha, Mahan Kosh, page 389.
In the ‘Ragmala’ recorded in the Guru Granth Sahib, Gauri (Gavari) is considered to be the ragini of Srirag:
bairārī karnāṭī dharī. gavrī gāvahi āsāvarī.
tih pāchai sindhavī alāpī. sirī rāg siu pāṁcaü thāpī. -Guru Granth Sahib 1430.

Rag Gauri is sung and played through different angs (styles or variations). According to Bhai Avtar Singh and Gurcharan Singh,
Bhai Avtar Singh Bhai Gurcharan Singh, Gurbani Sangit Prachin Rit Ratnavali, part-one, page 33-37.
Gauri is a rag sung through ‘Bhairav’ and ‘Purvi’ angs. According to Prof. Tara Singh, Gauri is sung in four different ways. The first is in Bhairav that and sampuran jati, second is in Bhairav that and aurav-sampuran jati, the third is in Bilaval that and sharav-vakar sampuran jati, and the fourth is in Purvi that and vakar-sampuran jati.
Prof. Tara Singh, Sri Guru Granth Sahib Rag Ratnavali, page 24.
According to Dr. Gurnam Singh, it is a rag that is sung in seven ways. The first is in Purvi that and aurav-sampuran jati, second is in Purvi that and vakar-sampuran jati, third is in Bilaval that and sharav-vakar sampuran jati, fourth is in Bhairav ang and aurav-sampuran jati, fifth is in Purvi that and aurav-sharav jati, sixth is in Bhairav that and vakar-sampuran jati, seventh is in Bhairav that ​​and sharav-sampuran jati.
Dr. Gurnam Singh, Gurmat Sangit Parbandh Te Pasar, page 84-85.
The contemporary Rag Gauri from ‘Bhairav that had also been accepted by the fourteenth century author poet Lochan.
Principal Shamsher Singh Karir, Gurmati Sangit Vich Gauri Rag, Vismad Nad, (editor Dr. Gurnam Singh), page 87.
S. Gian Singh Abbottabad
S. Gian Singh Abbottabad, Gurbani Sangit, part one, page 16.
and Dr. Kanwaljit Singh
Dr. Kanwaljit Singh, Sikh Sacred Music, page 29.
have only mentioned the Rag Gauri of Bhairav ​​ang. Rag Nirnayak Committee
Principal Sukhwant Singh (editor), Guru Nanak Sangit Padhati Granth, part-1, page 7.
has also accepted the Rag Gauri of Bhairav ang, whose description is as follows:

Description of Rag Gauri
That: Bhairav.
Svar (notes): Re, Dha (komal - flat), rest all notes natural/normal (shudh).
Varjit Svar (forbidden notes): Ga and Dha in ascending scale (aroh).
Jati: aurav - sampuran.
Vadi: Re.
Samvadi: Pa.
Aroh (ascending scale): Sa Re (komal - flat), Ga Re (komal - flat), Ma Pa, Ni Sa (tar saptak - upper octave).
Avroh (descending scale): Sa (tar saptak - upper octave) Ni Dha (komal - flat) Ma Pa, Dha (komal - flat) Pa Ma Ga, Re (komal - flat) Ga Re (komal - flat), Sa Ni (mandar saptak - lower octave) Sa.
Mukh Ang/Pakar (Main Part): Ma Dha (komal - flat) Pa, Dha (komal - flat) Ma Pa Ma Ga Re (komal - flat), Ga Re (komal - flat) Sa Ni (mandar saptak - lower octave), Sa.

Singing Time
The first quarter of the night.
Bhai Kahn Singh Nabha (Mahan Kosh, page 389) and Prof. Tara Singh (Sri Guru Granth Sahib Rag Ratnavali, page 24) has mentioned the singing time of this rag to be the fourth quarter of day.