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Ghar

In the Guru Granth Sahib, along with the titles of rags, seventeen ‘gharare found to be recorded. According to ‘Shabdarth Sri Guru Granth Sahib’ ‘ghar’ locates the position of the beat/rhythm or notes in a melody.

Bhai Kahn Singh Nabha is of the view that, “As per the Sikh music gharhas two meanings: One is rhythm or beat, and the other is the different forms of singing a rag’s current elaborations (expansions) because of the difference in the notes and their relative position in an octave. In the Guru Granth Sahib, there are seventeen ‘ghar’ ranging from 1 to 17. Through this, the singer has been instructed to sing a Sabad as per a specific number of elaborations of notes.

In Iranian music, the word ‘gah,’ which is similar to ghar,’ also means a place or home. In the Iranian rhythm technique, different forms of rhythm are recognized as one gah, two gah, etc., which are an indicator of beat. The seventeen rhythms, which have been established by Amir Khusrau, also resemble the rhythms identified in Hindustani music.

Numerics written with ghar is from 1 to 17, such as: ghar 1, ghar 2... ghar 17, etc. As indicators of ‘ghar,’ these numbers are numerical adjectives. They are pronounced pahilā, dūjā, tījā, caüthā, panjavāṁ, nāvāṁ, satārhvāṁ, etc., respectively. But at some places, information about ‘ghar is also given through special notes such as:
(a) eku suānu kai ghari gāvaṇā (Guru Granth Sahib 91)
(b) yānaṛīe kai ghari gāvaṇā (Guru Granth Sahib 802)
(c) pahiriā kai ghari gāvaṇā (Guru Granth Sahib 93)
(d) rahoe ke chant ke ghari (Guru Granth Sahib 203)