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Bani Mahala 9 - Rag Devgandhari
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Musical Dimension
Rag Devgandhari
Out of the thirty-one principal rags in the Guru Granth Sahib, Rag Devgandhari has been designated sixth in the sequence. Under this rag, the Bani of three Gurus is recorded from page 527 to 536 of the Guru Granth Sahib. It includes six Sabads by Guru Ramdas Sahib, thirty-eight by Guru Arjan Sahib, and three by Guru Teghbahadar Sahib.
Bhai Joginder Singh Talwara, Bani Biura, page 77.


In Hindustani music, both Rag Devgandhar and Rag Gandhari are mentioned, but not Rag Devgandhari. According to ‘The Encyclopedia Of Sikhism,’ Rag Devgandhari is a heroism dominant and a rarely sung rag.
The Encyclopedia Of Sikhism, vol 2, page 171.
This rag is only mentioned in the Guru Granth Sahib.

In ragmala recorded in the Guru Granth Sahib, Rag Devgandhari is considered to be a ragini
A derivative melody acquired by the modification of a rag (musical mode) in the Indian classical music. Its form is closely related to and associated with the rag it has been derived from. In Indian mythology, it is personified as the wife of that particular rag.
of Rag Malkauns.
dutīā mālkaüsak ālāpahi. saṅgi rāganī pācaü thāpahi. gonḍkarī aru devgandhārī. gandhārī sīhutī ucārī. -Guru Granth Sahib 1429
Devgandhari is a ragini of Rag Malkauns according to Bhai Vir Singh
Dr. Vir Singh, Gurmat Sangit Par Hun Tik Mili Khoj, page 25.
as well. In contrast, Bhai Kahn Singh Nabha
Bhai Kahn Singh Nabha, Mahan Kosh, page 650.
has considered it to be a complete (sampuran) ragini of Bilaval that. However, presently, the popular Rag Devgandhari is deemed to belong to Asavari that. Dr. Gurnam Singh also concludes that Rag Devgandhari is a rag of complete (sampuran) jati of Asavari that.
Dr. Gurnam Singh, Gurmat Sangit Parbandh Ate Pasar, page 98.


According to Bhai Avtar Singh and Bhai Gurcharan Singh, Rag Devgandhari can be sung in three different ways: asa, bhairau and asawari. In Asa, Pa is pure (in sequence). In Bhairau, both Re, both Ga, both Dha, and both Ni are used.
Bhai Avtar Singh Bhai Gurcharan Singh, Gurbani Sangit Prachin Ratanavali, part one, page 189-220.
Asavari is considered to be older and more authentic. In this, both Ni, both Dha are used; the remaining notes are normal (shudh). This form of Rag Devgandhari is a beautiful combination of Rag Asa and Rag Asavari. In ‘Guru Nanak Sangit Padhati Granth’ the following form of Rag Devgandhari is given:

Description of Rag Devgandhari
Rag: Devgandhari.
That: Bilaval (Asavari).
Svar (notes): both Dha, both Ni, rest of the notes normal/natural (shudh).
Varjit Svar (forbidden notes): Ga and Ni (in 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 Pa Dha (komal - flat) Ma Pa Dha (komal - flat) Ni (komal - flat) Dha (komal - flat) Pa, Ma Ga Re Sa.
Mukh Ang/Pakar (Main Part): Ma Pa, Dha (komal - flat) Ni (komal - flat) Dha (komal - flat) Pa, Ma Ga Sa Re Ma.

Singing time
The second quarter of the day.