Rag Basant
Out of the thirty-one principal rags in the Guru Granth Sahib, Rag Basant (a musical mode) has been designated twenty-fifth place in the sequence. Under this rag, the Bani of five Gurus and four Bhagats is recorded from page 1168 to 1196 of the Guru Granth Sahib. It includes nineteen Sabads by Guru Nanak Sahib, twenty by Guru Amardas Sahib, eight by Guru Ramdas Sahib, twenty-six by Guru Arjan Sahib, five by Guru Teghbahadar Sahib, eight by Bhagat Kabir, three by Bhagat Namdev, and one each by Bhagat Ramanand and Bhagat Ravidas.

Due to human being’s deep connection with nature from the beginning of time, the vibrant colors of nature have always given pleasure to them. In the natural progression of human life, months, dates (of a lunar month), days and seasons have an important role to play. As per the natural conditions of South Asia, the thunder of clouds and steady rain through mid-July to mid-September (Savan-Bhadon), the blooming of earth and the sky in spring (mid-March to mid-May; Chet-Vaisakh); all these things give joy to the human beings as well as remind them of the Creator (IkOankar).

Spring has been acknowledged as the most pleasant season and designated as ‘ritu raj’ (king of seasons) accordingly. In the spring season, where enthusiasm fills the air, the singing of this rag, too, evokes excitement in the mind. Bhagat Kabir states:
maülī dhartī maüliā akāsu. ghaṭi ghaṭi maüliā ātam pragāsu.

Rag Basant is an ancient, popular, and calm rag. Its flow is steady and calm. From ancient times to now, almost all commentators of Hindustani music have mentioned this rag. It is a season specific rag. Therefore, to express joy, excitement, or the cheerfulness of spring, this rag is sung. In Gurmat Sangit (Sikh Music), this rag has been given a unique place by connecting the joys of spring with spiritual bliss.

There is an incident regarding Maharaja Ranjit Singh associated with Rag Basant. Once in a spring, he came to visit Sri Anandpur Sahib. He had heard about the musical prowess of Bhai Prem Singh, the ragi of Anandgarh Sahib fort. Maharaja Ranjit Singh requested him to sing kirtan in Rag Basant. Ragi agreed to do kirtan the next day and asked the sangat to come in white dresses. The next day, all the officials, including the Maharaja, enjoyed the kirtan with their eyes closed. When the kirtan was over, everyone was amazed to see that everyone’s clothes seemed saffron-colored instead of white.

Primarily the spring season is described in the compositions and songs of this rag. Therefore, gifted musicians sing this rag at any time during the spring season. In Gurmat Sangit tradition, there is a practice of singing Rag Basant during the time between Maghi and Hola Mahalla in every ‘kirtan chaunki.’

In the Guru Granth Sahib, Rag Basant appears independently as well as in a mixed form with Rag Hindol. Rag Basant is considered to be centuries old and very popular in Hindustani music. Scholars acknowledging the rag-ragini system, have expressed different views regarding Rag Basant. Under this classification, Shiva tradition and Kali Nath tradition have considered this a rag. Bhai Vir Singh believes
that Rag Basant is the son of Rag Hindol in the Gurmat Sangit. According to him, this rag has originated from the combination of Rag Hindol and Rag Malkaus. Even in ‘Ragmala’ recorded in the Guru Granth Sahib, Rag Basant has been depicted as one of the eight sons of Rag Hindol:
puni āiaü hinḍolu panc nāri saṅgi asṭ sut.… sarasbān aü āhi binodā. gāvahi saras basant kamodā. -Guru Granth Sahib 1430.

There is a difference of opinion among scholars regarding the form of Rag Basant. Some believe it is a rag of Marva that, others consider it to be a rag of Purvi that. According to Bhai Avtar Singh and Bhai Gurcharan Singh, it is sung based on the angs (styles) of Kalyan, Marwa, Purvi, Khamaj, and Kafi. The Rag Basant sung from Kafi ang is also called ‘Buddha Basant’ (ancient Basant), which the ragis of the past used to sing. This rag form is not common these days.

Prof. Tara Singh has only mentioned the Rag Basant of Purvi that, which is sung with both Ma. Sardar Gian Singh Abbottabad has given two forms of Rag Basant. One of Purvi that, and other of Marva that. Prof. Kartar Singh is of the opinion that in Hindustani music, Rag Bansat of Purvi that is popular but in Gurmat Sangit, Rag Basant from only the Bilaval that is accepted.

Here, we are presenting the form which is sung at Sri Harimandar Sahib (Amritsar), and which proficient ragis sing these days. The same form has been recognized by the Rag Nirnayak Committee, which is as follows:

Description of Rag Basant
That: Bilaval.
Svar (notes): All natural/normal notes.
Varjit Svar (forbidden notes): Re and Pa (in aroh).
Vadi (prominent note): Sa (tar saptak - upper octave).
Samvadi (sub-prominent notes): Ma.
Jati (class): aurav-sampuran.
Aroh (ascending scale): Sa Re, Ma, Dha Ni Sa.
Avroh (descending scale): Sa (tar saptak - upper octave) Ni Dha Pa Ma, Ga Re Sa (tar saptak - upper octave).
Mukh Ang/Pakar (main part): Ga Ma Dha Ni Sa (tar saptak - upper octave), Sa (tar saptak - upper octave) Ni Dha Ni Dha Pa Ma, Ga Re Sa.

Singing Time
The second quarter of the day, anytime during spring.