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Rag Suhi
Out of the thirty-one principal rags in the Guru Granth Sahib, Rag Suhi (a musical mode) has been designated the fifteenth place in the sequence. In this rag, there are twenty-one Sabads by Guru Nanak Sahib, twelve by Guru Amardas Sahib, twenty-three by Guru Ramdas Sahib, seventy-five by Guru Arjan Sahib, five by Bhagat Kabir, three by Bhagat Ravidas and two by Baba Farid.

Suhi is a rag of enthusiasm. It is associated with deep love and devotion, and is used to evoke feelings of deep adoration. There are many references to marital bliss (suhag) and the married woman (suhagan) available in this rag. Sabads related to engagement and Sikh marriage ceremony (Anand Karaj) are available only in this rag. In this rag, signs of the union of a happily married human-bride (seeker) and the Divine-Husband (IkOankar) have been described. The concepts of kuchajiand suchaji are associated with a married woman. An ungraceful woman who does not know the way of doing something is called kuchaji,’ while a graceful woman who knows the way is called suchaji.’ Thus, the inclusion of Sabads titled ‘Kuchaji,’ ‘Suchaji’ and ‘Gunvanti’ in Rag Suhi is in accordance with the original tone and subject of this rag.

The mention of Rag Suhi is seldom found in Indian music texts. In some books, Suhi has also been described as Suho, Suhav, and Suhavi etc. Pandit Lochan has given two names Shudh Suhav (Pure Suhav) and Desi Suhav (Indigenous Suhav). Pandit Hirdainarain Dev identifies Shudh Suhav (Pure Suhav) with sarav jati and Desi Suhav (Indigenous Suhav) with sampuran jati, and connects their notes/keys with bilaval that. Pundrik Vithul, on the basis of ‘rag-raginiclassification, suggests Suhavi to be a ragini of Rag Nat Narayan and believes it to have originated from kedar that. But other authors have not mentioned this rag.

In the forms of Kanara also, there is a Suha Rag, which falls under the category of difficult rags. Some scholars believe Suha Rag to be the same as Suhi Rag. Even though both names, Suhi and Suha are available, the forms of both these rags are different. Because Suha belongs to that kaphi, whereas Suhi belongs to that bilaval.

Suhi is an unpopular rag, which has been brought into currency by the Gurus. According to Bhai Kahn Singh Nabha, Suhi is a sarav ragini of that kaphi, which is also called Suha. Dhaivat note is prohibited in it. Gandhar and nishad are flat (komal); rest are normal (shudh). Maddham is vadi and shadaj is samvadi.

According to Dr. Gurnam Singh, there is another independent form of Suhi in the Gurmat Sangit tradition, which is popular in practical form among the devotional hymn singers (ragis and kirtankars). This rag has been mentioned under that bilaval by many analysts of Gurmat Sangit, which includes Bhai Avtar Singh, Gurcharan Singh, Gian Singh Abbottabad, Dr. Mansukhani etc.

Description of Rag Suhi
In ‘Guru Nanak Sangit Paddhati Granth’ the description of Rag Suhi has been given as follows:
That: bilaval
Vadi: pancham (Pa)
Samvadi: shadaj (Sa)
Jati: sampuran-sampuran
Aroh: Sa Re Ga Ma Pa, Ni Dha Ni Sa (tar saptak/upper octave).
Avroh: Sa (tar saptak/upper octave), Ni (komal/flat), Dha Pa, Ma Ga, Re Ga Re Sa.
Main Part (Mukh Ang/Pakar): Sa (tar saptak/upper octave) Ni Pa, Ma Ga Re Ga, Ma Ga Re Sa.

Singing Time
Second quarter of the day.