ÿþ<HTML><HEAD><TITLE>GURMAT SA&#7748G&#298T</TITLE> <style type="text/css"> .BODY { background:#EAF1F7 url('../images/gtbh.jpg') no-repeat fixed center; color: #0066CC} .C1{text-align: justify;color: #0066CC;FONT-size: SMALL;FONT-family: Tahoma;} .BIB{text-align: center;color: #000099;FONT-size: SMALL;FONT-family: Tahoma;} .CONT{text-align: right;color: #FF0000;FONT-size: SMALL;FONT-family: Tahoma;} </style><META NAME="keywords" CONTENT="GURMAT,SADG*T"> <META http-equiv="content-type" content="text/html; charset=UTF-8"></HEAD> <BODY class="BODY" oncontextmenu="return false" ondragstart="return false" onselectstart="return false"> <FONT ALIGN="JUSTIFY" FACE="Tahoma"> <p class="C1">&#65279GURMAT SA&#7748G&#298T or sacred music of the Sikhs. The founder of the Sikh religion, Gur&#363 N&#257nak (1469-1539), composed his religious verse to settings of Indian <i>r&#257gas</i> mostly from the classical tradition. Successive Gur&#363s followed his example and considered divine worship through music the best means of attaining that state which results in communion with God. Religious music is that musical expression which is appropriate to and presented as a definite part of a formal service of worship. Devotional music may have religious texts, but is performed primarily by individuals usually in secular surroundings. Also it need not fulfil the requirements of religious music in form and structure. <i>K&#299rtans, bhajans, s&#363fi&#257n&#257 kal&#257m</i> and <i>qaww&#257l&#299 na'at</i>, among others, are examples of devotional music. Vedic chant, Quranic chant, the liturgy and hymns of the Christian churches and the <i>&#347abda K&#299rtan</i> of the Sikhs are examples of religious music. A unique feature of much of the Sikh music lies in the fact that the texts therein present the teachings of the Gur&#363s and a large number were composed simultaneously with the music. This dignified expression of faith comes out in its full impact in the <i>gurdw&#257r&#257</i> where its import and message may be fully realized by a devoted adherent to the faith. Even those who have no knowledge of the Sikh religion are impressed with the fresh and vital sounds of this music. Retention of the purity of form in performance as set down by the Gur&#363s more than 400 years ago makes possible this remarkable impact today.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; While the Gurmat <i>sa&#7749g&#299t</i> was probably influenced by devotional styles prevalent during the 15th and 16th centuries in north-western India, its main characteristics came from Indian classical music. The history of the classical idiom can be traced back to 1500 BC to the Vedic chant and its conception of the effect of the combined sound of music and the text on the individual. Vedic rites used singing accompanied by dancing and instruments to express the meaning of the verses. The "sound" was as important in certain ceremonies as the meaning of the word. In the <i>&#7770gveda</i>, only two or three different pitches were intoned. For the later <i>S&#257maveda</i>, a fixed descending scale of five, six, or seven notes was the basis for <i>sam&#775g&#257yana</i>, the musical aspect of Vedic chant. However, another sort of music developed from the materials of the <i>sam&#775g&#257yana</i> sometime around 600-500 BC known as <i>m&#257rga</i>. This art of music contained a system of new melodies and rhythms. Seven <i>&#347uddha</i> (pure or unaltered tones) <i>j&#257t&#299s</i> formed the basis of this style and these <i>j&#257t&#299s</i> can be looked upon as the first <i>r&#257gas</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Knowledge of the historical development of classical music may be derived in part from a succession of Sanskrit treatises, each describing the musical practice of the particular time in which its author lived. One of the earliest is the <i>N&#257rada&#347ik&#7779&#257</i>, dating from the first century AD which serves as a bridge between Vedic chant and early art music. These early treatises document how very old the classical music system is. Probably one of the most complete authorities and one that is frequently referred to in modern times is Bharata Mun&#299's <i>N&#257&#7789ya&#347&#257stra</i>, a study of dramaturgy in which music, dance and drama are treated as a single major art form. The date of its composition is controversial, but is usually placed somewhere between 200 BC and AD 200. Other texts beginning with P&#257&#7751ini (circa 500 BC) and extending to the king Har&#7779avardhana (AD 589-647) continue to support the use of the three arts together for court and temple performances.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; For melodic purpose the <i>N&#257&#7789ya&#347&#257stra</i> gives seven <i>j&#257t&#299 r&#257gas</i> and three <i>gr&#257mas</i> (scales) : <i>&#7779a&#7693ja</i>, <i>madhyama</i> and <i>gandh&#257ra</i>, with the option of producing more <i>j&#257&#7789&#299s</i> by overlapping of the scales. The system included all the twenty-two <i>&#347rutis</i>. Time measure (<i>t&#257la</i>) and drumming are discussed and three speeds are described. Of the instruments given, the <i>v&#299&#7751&#257</i> types seem to be the most prominent but the <i>v&#299&#7751&#257</i> was not as highly developed as that in use today. <i>Dhruvas</i> (songs) were of seven types and these were described in relation to the part of the drama where used.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Mata&#7749gas's <i>B&#7771hadde&#347r&#299</i> (AD 400-600) seems to be the first writing actually to use the term <i>"r&#257ga"</i> and N&#257rda's <i>Pañcama-Sara-Sam&#775hit&#257</i> (circa AD 600-900) is the first to call subordinate <i>r&#257gas "r&#257gin&#299s." </i> The main <i>r&#257gas</i> of N&#257rda's work are: <i>&#346r&#299, Vasanta, M&#257lava, Mall&#257ra, Hi&#7751&#7693ola</i> and <i>Kar&#7751&#257&#7789a</i>. Some&#347vara in his <i>Abhil&#257&#7779g&#257th&#257-Chint&#257mani</i> (AD 1131) describes the concept of <i>rasa</i> (mood) and includes performance times from the six seasons of the Indian year for the <i>r&#257gas</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Mesarkar&#7751a in his <i>R&#257gam&#257l&#257</i> (1509) designates the parent <i>r&#257gas</i> as: <i>Bhairav, M&#257lkau&#7749s, Hi&#7751&#7693ola, D&#299paka, &#346r&#299</i> and <i>Megha</i>. This classification corresponds in most respects with the one found in <i>R&#257gam&#257l&#257</i> at the end of the Gur&#363 Granth S&#257hib. Pu&#7751&#7693ar&#299ka (1595) has four volumes to his credit and in these works he gives the performance time for each <i>r&#257ga</i>. His classification uses 19 <i>th&#257&#7789s</i> (parent <i>r&#257gas</i>). He also discusses the picturization of <i>r&#257gas</i>, an idea exemplified in the <i>r&#257gam&#257l&#257</i> paintings of the Punjab hills and other places. Muhammad Raz&#257 <u>Kh</u>&#257n in <i>Na<u>gh</u>m&#257t-i-&#256saf&#299</i> (1813) rejects the <i>r&#257ga-r&#257gi&#7751&#299</i> system and simply groups <i>r&#257gas</i> according to tonal relationship but still retains the term <i>"r&#257gin&#299"</i>. His <i>&#347uddh&#257</i> scale is R&#257ga Bil&#257val of the ancient Mukh&#257r&#299. Bil&#257val has remained the standard scale for North Indian classical music since his time.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; These scholars were mainly concerned with the theoretical development of the classical idiom. The actual performance of Indian music was strongly influenced by other factors. By the year 1,000 music had gradually become separated from dance and Sanskrit drama. The growth of regional languages was one of the main causes of the decline of Sanskrit. Few people understood the ancient language and its <i>pr&#257krit</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Foreign invasions brought about new developments in Indian music. The Arabs came to North India as early as AD 710 when Muhammad bin Q&#257sim crossed through Bal&#363chist&#257n. The Arabs had been fired by Prophet Muhammad (569-632) to spread their religion all over the then civilized world. By the time of the establishment of early Delhi Sultanate in 1206, the impact of Islamic music had become distinctly noticeable. Sometimes Persian <i>na<u>gh</u>m&#257s</i> were combined with Indian <i>r&#257gas</i> to make new <i>r&#257gas</i>. Persian was the language of the court, and music was based on Persian poetry with its poetic metre and romantic texts. Moreover, another musical influence came from the Islamic lands with the S&#363f&#299s. About 100 years after the death of the Prophet, Islamic religion split into sects, some adhering strictly to the Prophet's teachings, while others like the S&#363f&#299s preferred other types of religious expression. The Chisht&#299 S&#363f&#299s believed that man could best reach God-consciousness through the use of devotional poetry set to music for meditation. The S&#363f&#299s spread all over the Middle East, congregating in those places where they might find another S&#363f&#299 saint. Towards the close of the 12th century, Hazrat <u>Kh</u>w&#257j&#257 Mu'&#299n-ud-D&#299n Chisht&#299 with a group of his followers came to Ajmer in R&#257jasth&#257n. At his shrine devotees still gather to honour the saint and celebrate his <i>'Urs</i> (anniversary of death) -- with <i>qaww&#257l&#299</i> singing. From the 14th to the 17th century, the S&#363f&#299s established a chain of monasteries in R&#257jasth&#257n, Punjab and parts of Uttar Pradesh. Qaww&#257l&#299 Na'at, a Muslim religious music, developed during this period and was well known in the time of Gur&#363 N&#257nak.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Foreign musical systems did not change the structure of Indian classical music. Even though men like Am&#299r <u>Kh</u>usrau created new <i>r&#257gas</i> with Persian names, the larger part of the material used for these was of Indian origin and the form too was Indian. The Emperor Akbar (1556-1605), a liberal patron of the arts, collected both Indian and Persian musicians at his court. The 16th century thus became a period of unusual flowering of the art of music and the famous T&#257nsen at the Emperor's court still remains one of the most celebrated Indian musicians in history.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The availability of support for the arts has a definite effect on their quality, proliferation and development. Historically, patronage for the arts came mainly from royal courts and temples. Music, a divine art, has always been a part of temple worship. Temple musicians as well as concert artists perform in the classical idiom for festival celebrations. These concerts may be held in temple <i>ma&#7751&#7693apams</i> and courtyards within the temple complex. In South India some rulers donated liberally for the support of temple music rather than maintain numerous musicians at court on a permanent basis. Some temples with long programmes of services in such areas as Tamil N&#257&#7693u, &#256ndhra Pradesh and O&#7771&#299ss&#257 did not allow temple musicians to perform at the court.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The musical programmes of northern regional courts tended to follow the pattern set by the imperial court of Akbar, but on a less elaborate scale. With the decline of Mu<u>gh</u>al rule in the 18th century, hundreds of musicians left Delhi to join those regional courts where the rulers were patrons of music. Considerable rivalry existed between these courts to secure the best musicians. A large court might have as many as 300 performers on call and the music department was in the charge of a superintendent who arranged all the court music for social and ceremonial occasions. Some rulers wanted music sounding continuously from very early morning until late in the evening.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; During the 19th century <i>ghar&#257n&#257s</i> developed in several court towns. Famous musicians attracted students from far and near and thus a sort, of school of music with emphasis on certain aspects of performance was created. Among the best known of the Indian courts that patronized music were Jaipur, R&#257mpur, Pa&#7789i&#257l&#257, Hyder&#257b&#257d, Mysore, Gw&#257l&#299or and Ba&#7771od&#257 only to name a few. The smaller states in the Punjab hills were vulnerable to frequent attack and few of these chiefs had time to cultivate the arts on a large scale. However, several of the smaller courts patronized painting and picturization of the moods of the different <i>r&#257gas</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; With the advent of Independence, support for the arts underwent a complete change. Immediately following the withdrawal of the British the princely rulers had to hand over their territories to the State, thus losing the income these provided. During the early 1950's these former rulers were left only with their privy purses and a few other privileges, and in most cases they were not sufficient to maintain the elaborate musical programmes which had been the custom in the past. Within a few years' span, hundreds of musicians all over India were suddenly left without any means of support. All-India Radio did a phenomenal piece of work in quickly setting up the machinery for auditioning and training the court musicians to fit the time schedules of broadcasting. Concerts paid for from public subscriptions were organized by social groups in cities and towns to collect funds for destitute artists as for other causes. Musical evenings in the homes of wealthy professional and business people provided other income for favourite classical musicians. Temple music had to face also the problem of paucity of funds, because the largest contributions had earlier come from the princes.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Today musicians teach and perform on a freelance basis both for religious occasions and classical concerts. A growing interest in the classical idiom brings many students, although few are willing to practise the long hours that the former <i>guru-&#347i&#7779ya</i> system demanded. Those few who are able to manoeuvre Western concert tours usually do well.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The bases of Indian classical music are <i>r&#257ga</i> (melodic measure) and <i>t&#257la</i> (rhythmic metre). A <i>r&#257ga</i> is a group of notes derived originally from Vedic hymns and folk and tribal melodies and arranged in the ascending-descending order as a scale. A <i>r&#257ga</i> represents much more than a simple scale, because its origin is melodic and the individual notes have specific types of approach in ascent and descent. The distinguishing melodic phrases and characteristic figures are a fundamental part of the total <i>r&#257ga</i> structure. Two <i>r&#257gas</i> might have the same basic tones, but the melodic phrases might differ along with mood and performance style.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Great care has been exercised in the past centuries as well as in modern times with regard to the preservation of exact pitch relationship between the tones of any established <i>r&#257ga</i>. The belief exists that this relationship must be precise practically to the exact number of vibrations in order to produce the mood ascribed to a given <i>r&#257ga</i> . The performance-time theory is a result of these pitch relationships and the powers reputedly indicated for specific <i>r&#257gas</i> are possible only when a careful shaping of melodic sequences is present. A recent experiment investigating brain waves with electronic equipment showed that vibrations resulting from the subject listening to serious music were of the same type as those occurring when the subject was practising yogic meditation. The Indian musicological theory of the past, still adhered to by the purists today, claims that the ultimate effect of a <i>r&#257ga</i> performance can only be obtained when every detail of the <i>r&#257ga</i> has been properly presented.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The standard scale for Indian music contains seven tones, viz. Sa-&#7778a&#7693ja; Re-&#7770&#7779abha; Ga-Gandh&#257ra; Ma-Madhayma; Pa-Pañchama; Dha-Dhaivata; Ni-Ni&#7779&#257da; and Sa-&#7778a&#7693j&#257, etc. in a higher pitch. <i>Sa</i> is the tonic or fundamental tone which is the basic note for the drone accompaniment. When a <i>tamb&#363r&#257</i> is used, the four strings are tuned to three <i>Sa's</i> and one <i>Pa</i>. However, for some <i>r&#257gas</i>, performers prefer that <i>Ni</i> replace one <i>Sa</i>. Other notes which figure largely in composition are <i>v&#257d&#299</i> and <i>samv&#257d&#299</i>. The <i>v&#257d&#299</i> is a central focal point in <i>r&#257ga</i> phrases and the <i>sam&#775v&#257d&#299</i> is the next most frequently heard tone. The location of the <i>v&#257d&#299s</i> within the scale may have some significance in the performance time theory.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>T&#257la</i>, the rhythmic organization of beats, is based on the cyclic principle. Just as the world movement by day and night is based on a 24-hour cycle of the earth rotating around its axis, so does Indian music maintain its rhythmic movement by time cycles which may be of long or short duration. <i>Tin t&#257la</i>, one of the most popular, has 16 beats divided into four groups, 4+4+4+4; <i>d&#257dr&#257 t&#257la</i> has six beats with two groups of three beats each. However, groups within a <i>t&#257la</i> are not always even. <i>Jhapt&#257la</i> has ten beats grouped 2+3+2+3. Primary and secondary accents within the <i>t&#257la</i> should fall upon important notes of the <i>r&#257ga</i>. Therefore, strong and light beats have significance for the soloist.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;For <i>t&#299n t&#257la</i>:</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; *1-2-3-4&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 5<sup>2</sup>-6-7 -8&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 9<sup>0</sup>-10-11-12&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 13<sup>3</sup>-14 -15 -16</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The heavy accent falls on the <i>sam</i> or first beat of the cycle, followed by three light beats. Beat 5 receives a secondary accent followed by three light beats. Beat 9 is unaccented as is the whole group, 9, 10, 11, 12. Beat 13 again is a secondary accent followed by 3 light beats arriving with a heavy accent on the <i>sam</i>. The heavy accent on the first beat of a cycle is highly significant for improvisation where the soloist must time his phrases so that the end falls on the <i>sam</i>. The <i><u>kh</u>&#257l&#299</i> serves as a warning that the <i>sam</i> is coming and the soloist should prepare his composition so that his phrases coincide with the framework of the <i>t&#257la</i>. The <i>tabl&#257</i> or <i>pakh&#257vaj v&#257dak</i> has means for elaborating his part of the composition when time is given for this. <i>T&#257la</i> compositions are based on designed subdivisions of the beat with repeatable patterns as part of the design. <i>T&#257ns</i> or short rhythmic figures played at fast tempo form a part of virtuoso drumming which has a number of fixed compositions for solo performance. When following a soloist, the drummer guides his playing to match and complement what the soloist is performing. He may enhance the artistic result but may not detract from it by trying to overshadow the melodic meaning of the composition. Most great artists, when accompanied by an exceptionally good drummer, give him a chance to display his own capabilities at some point in the performance.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Drumming is learned through a system of mnemonics called <i>bols</i> or drum syllables. These indicate the fingers to be used, the place on the drumhead where the stroke should fall and whether the stroke is light or heavy. When playing the <i>tabl&#257</i> (pair of drums), the right hand index finger (for right-hand drum) is used for <i>Na, Tha, Dha, Nuh</i>, and <i>Tin</i>; the right-hand middle finger for <i>Ti, Ta, Te, Dha</i>. Combination <i>bols</i> representing both hands (one for each drum) begin with <i>Dha</i>. Drumming involves an elaborate and precise system; these items are small illustrations. Not all elements are given in the <i>bols</i> because some sounds cannot be recited quickly enough. Also certain <i>bols</i> always follow certain other <i>bols</i>. All this is understood only by those who practise the art of drumming under the guidance of a competent teacher.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The ever-sounding drone of Indian classical music is important both musically and philosophically. Some people consider the drone as symbolic of the primordial sound of the universe, <i>n&#257da</i>, from which all other sounds have emanated. When Pythagoras (c. 582-507 BC) experimented with a monochord, he proved that all tones could be produced from one primary tone by stopping a single string at different points. However, this fact was known to the Indians long before the time of Pythagoras. In more recent times, Helmholtz (1821-1894) demonstrated the same principle with his overtone series.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The performing musician must be constantly aware of the drone or <i>sa</i> or <i>&#7779a&#7693aj</i> tone because this is the note against which he measures all other pitches so that completely accurate intonation of the <i>r&#257ga</i> tones is achieved. Each singer may place <i>sa</i> where most comfortable for his voice, which is somewhere in the neighbourhood of the Western middle <i>C</i>. The pitch level for instrumentalists is about the same.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Classical compositions have a formal organization which begins with <i>al&#257p</i>, or exposition of the <i>r&#257ga</i> . Each tone of the <i>r&#257ga</i> is shown with its proper approach beginning with the lower tetrachord of the octave and continuing with the upper four notes. Then small figures from the melodic phrases begin to appear and all of this is without drums. As more complete phrases are introduced, the soloist adds the rhythm by strumming on an accompanying instrument (vocal) or the <i>chik&#257r&#299</i> strings of the solo instrument. In a vocal composition this slow opening section is called <i>vilambit</i> (includes <i>al&#257p</i>); for an instrumental piece <i>al&#257p, jo&#7751, jh&#257ll&#257.</i> In concert performance, the skill and understanding of the artist are revealed in the treatment and development of the <i>al&#257p</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>R&#257gas</i> have two main parts, the first of which is the <i>sth&#257&#299</i> containing melodies located in the lower portion of the scale or lower register (<i>mandar saptak</i>). The second part is the <i>antar&#257</i> which centres in the upper portion of the scale and the higher register (<i>madhyantar saptak</i>). In some <i>r&#257gas</i> the melodic material is not separated in this manner but may overlap in both <i>sth&#257&#299</i> and <i>antar&#257</i>. Towards the end of the <i>vilambit</i> or <i>jh&#257ll&#257</i>, the tempo increases and the drummer prepares to join the soloist. The <i>drut</i> or <i>gat</i> (slow and fast) contains the main composition giving <i>sth&#257&#299</i> and <i>antar&#257</i> in complete rendition with improvisation and elaboration. A development section is based on material from both parts and can be extended to any desired length with increasing tempos as the variations are added until a climax is reached which in itself may be extended. At the conclusion of each variation the same characteristic phrase is used to show its completion. Finally, a short closing section in slow tempo concludes the piece.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>Dhrupad</i> was the popular form during the 16th century. S.M.Tagore claims that "Sult&#257n Husain Sharq&#299 of Jaunpur introduced this style in the 15th century." Earlier, in the 13th century Am&#299r <u>Kh</u>usrau is often credited with the invention of <i>khay&#257l</i>, but its popularity did not spread until some centuries later, although it must have been known to singers like T&#257nsen. <i>Dhrupad</i> is slower, much less ornamented and more sedate than <i>khay&#257l</i> with its allowable freedom. However, the latter style dominates North Indian classical music today.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Musical instruments commonly used in the <i>gurdw&#257r&#257s</i> (Sikh temples) in the past or acceptable today for the accompaniment of <i>gurb&#257&#7751&#299-k&#299rtan</i> are <i>rab&#257b, sit&#257r; sarod, s&#257rand&#257, s&#257ra&#7749g&#299, t&#257&#363s, dilrub&#257, tamb&#363r&#257</i>, violin, and, the most common now, the harmonium. While the <i>sit&#257r</i> and <i>sarod</i> are admissible in some instances, today's models have been developed as solo rather than accompanying instruments. The <i>sarod</i> is a descendant of the <i>rab&#257b</i> (rebeck) and has taken the place of that instrument for concert performance. Its tone is more penetrating than that of the <i>rab&#257b</i> and its appeal lies in the extensive possibilities for ornamentation. The <i>sit&#257r</i> is probably the best-known of the current plucked-string instruments and has acquired considerable secular popularity in recent decades. It, too, has a distinctive sound which was not designed for the accompaniment of singing. Paucity of players on the traditional <i>s&#257rand&#257, s&#257r&#257&#7749g&#299, t&#257&#363s</i> and <i>dilrub&#257</i> instruments suitable for vocal accompaniment presents a problem which can be attributed to the difficulty in playing, the length of time required for training and the financial problems these present to the student who cannot be assured of a reasonable future income.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Gur&#363 N&#257nak used the <i>rab&#257b</i> for inducing meditation and for musical accompaniment to his verses. Mard&#257n&#257, his constant companion and musician, played the <i>rab&#257b</i> and may be seen with Gur&#363 N&#257nak in old murals and paintings in the Amritsar Temple Museum and elsewhere. The <i>rab&#257b</i> is in use in Afghanistan, the Middle Eastern countries, Kashm&#299r and the Punjab. Regional variations may be found in other North Indian states. Persian instruments bearing the same or similar names are not necessarily of the same shape, but do have some similarities in tonal properties.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Carved from a single block of wood, the Indian <i>rab&#257b</i> has an exceptionally deep body, standing some nine or ten inches or more in height and perhaps seven or eight inches in width. The sides slant towards the bottom and are pinched in forming two sections of the body, the lower of which is covered with parchment and the upper with wood. The neck is wide, usually with no frets. Basically the instrument has four main strings, but the two upper-sounding strings may be doubled to increase the volume of the higher notes. Some sources say that Gur&#363 N&#257nak added these two strings. The bridge supporting the main strings lies on the lower parchment-covered portion of the body. Some nine to eleven sympathetic wires lie underneath the main strings and are fastened to pegs along the side of the body. T&#257nsen is reputed to have played a <i>rab&#257b</i> with six main strings and a limited number of sympathetic wires.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; A <i>rab&#257b</i> which may be seen in the Clock Tower Museum of the Amritsar Temple has a body covered with fine leather. The fingerboard above the peg box ends in a flared, carved ornament. The <i>rab&#257b</i> is usually played with a plectrum but a Be&#7749g&#257l&#299 model is shown with a bow. (Generally, pinched-insides exist to facilitate bowing). The <i>rab&#257b</i> is reputed to have a mellow tone suited to the dignified character of religious music.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The <i>s&#257rand&#257</i> has some characteristics of the <i>rab&#257b</i> and the <i>s&#257ra&#7749g&#299</i> and like the <i>s&#257ra&#7749gi</i>, is of folk origin. Fashioned from a hollowed out piece of wood, its body is spherical in shape with a flat open top. The completely pinched-in design actually divides the body into two sections. The upper portion is left open, but is partially covered with a highly ornamented extension of the finger-board, ending in a point at the centre of the body. The lower portion is covered with parchment and a bridge rests in the middle of this section. The short stubby neck is less than half as deep as the main body with pegs along the side for sympathetic wires. The <i>s&#257rand&#257</i> has three heavy gut-strings and six or more side-strings. When playing, the musician holds the instrument in vertical position in his lap. The bow is short and heavy like that used for the <i>s&#257ra&#7749g&#299</i> and the neck has no frets. The <i>s&#257rand&#257</i> is a most picturesque instrument to behold and its tone resembles that of the <i>s&#257ra&#7749g&#299</i>, but with more depth of sound.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The <i>s&#257ra&#7749g&#299</i>, like the <i>s&#257rand&#257</i>, is a comparatively short instrument of the bow string type, ranging from two feet to 30 inches for concert models today. Folk <i>s&#257ra&#7749g&#299s</i> are much smaller. The body is carved from a single block of wood and is barely wider than the neck. The peg-box is left open and has four tuning pegs for three heavy gut main strings and a possible drone string. The sides of the body are slightly pinched in near the bridge which rests on a flat parchment top. When played, the instrument is held in upright position in the lap of the player who does not press the strings downward, as for most instrument, but deflects them sideways with his fingernail pressed against the string sideways. The sympathetic wires lie underneath and to one side of the main strings and are attached to pegs along the side of the neck. The number of these may be anywhere from 38 to 45 and this presents a tuning problem when making a change of <i>r&#257ga</i> in a continuous performance. The <i>s&#257ra&#7749g&#299</i> appears in treatises of the 12th and 13th centuries, but no information is available of its having been used at the Mu<u>gh</u>al court, although it did appear in regional courts of the 17th and 18th centuries. Its ability to emulate the inflections of the human voice makes it desirable for vocal accompaniment especially for the initiative lines. Poor players can only produce a dry uninviting tone which annoys the vocalists and does not enhance the performance.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The <i>dilrub&#257</i> is of comparatively recent origin (1850-1875) and was created from the neck of the <i>sit&#257r</i> and the body of the <i>s&#257ra&#7749g&#299.</i> An instrument of the bow-string variety, its popularity has been mostly in Mah&#257r&#257sh&#7789ra, Uttar Pradesh and Punjab. The tone is plaintive with a sweet singing quality. Some North Indian vocalists of note prefer it to <i>s&#257ra&#7749g&#299</i> and it certainly is more in keeping with the North Indian musical tradition than the harmonium. The neck of the <i>dilrub&#257</i> has some 18 or 19 arched movable frets tied to the stem of the instrument with pieces of gut or plastic. This makes for quicker adjustment when changing from one <i>r&#257ga</i> to another. The bridge is placed in the middle of the skin-covered body and all wires pass over or through this bridge. Of the four main strings, the one furthest to the left (as in the <i>sit&#257r</i>) is the principal one for playing. The first two strings on the player's left are of steel and the second two of brass. About 20 symp&#257thetic wires are fastened to a series of small pegs along the right side of the neck. No need exists for <i>chik&#257r&#299</i> strings as on plucked string instruments. Unlike playing the <i>sit&#257r</i>, the <i>dilrub&#257</i> strings may not be deflected sideways to produce ornaments. The bow is like that used for the <i>s&#257ra&#7749g&#299</i>, and the <i>dilrub&#257</i> rests in vertical position on the thigh of the player, sitting with folded legs.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The <i>tamb&#363r&#257</i> is the traditional instrument for producing the ever-present drone of Indian classical music. <i>Tamb&#363r&#257s</i> usually have four strings, but may have three, five, six, or even seven. When a <i>tamb&#363r&#257</i> has the usual four strings, three are tuned to the tonic and one to the fifth (<i>PA</i>). Sometimes one of the tonic strings will be replaced with the seventh (<i>NI</i>) when this tone is prominent in a given <i>r&#257ga</i>. The first three strings are of steel and the lower tonic is made of brass. Strings are set in vibration by pressing the fingers across them lightly over the upper part of the hollow stem which has no frets. Strings are never stopped completely and the resulting sound is a blend of all pitches. <i>Tamb&#363r&#257s</i> are almost five feet in length, but shorter models are also used. A wide ivory bridge sits on the thin wooden top of the body which consists of a grown gourd scraped thin. All <i>tamb&#363r&#257s</i> use silk or cotton threads wedged between the bridge and the strings to produce a buzzing sound and to emphasize the overtones. Tuning beads are inserted on the lower part of the strings between the bridge and the base of the instrument to facilitate accurate pitch for these unusually long strings. By moving the beads up and down, the tension is altered slightly, thus raising and lowering the pitch. The usual playing position is upright with the body resting on the floor or in the lap of the player. Sometimes a soloist may use a horizontal position in which case the instrument will lie across the lap of the player. Because the drone is the basis on which the performer establishes his own pitch, the soloist may want to tune the <i>tamb&#363r&#257</i> himself.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Western violin has been prevalent in South India since the early part of the 19th century, but its use in the North has come only in the last few decades. Most violins are imported from Europe, but there are indigenous models too constructed after their Western counterparts. The violin is excellent for accompanying vocal music and is capable of producing all the nuances of the voice as well as the ornaments of the classical system. The instrument, about two feet in length, is held against the chest with the peg box resting on the knee when played Indian style. The shallow body is longer than wide and has indentations on the rounded sides in line with the bridge which is placed in the middle of the thin wooden top. The body is made of thin, carefully shaped wood with two openings on top. The ebony finger-board has no frets and extends over the body almost to the bridge. Four strings extend from the peg-box to the tailpiece which is fastened to the base of the instrument and appears as an extension of the finger-board below the bridge. Inside the body and approximately under the bridge is the sound post. The bow is thin and straight, about 29 inches in over-all length strung with horse-hair, with tension controlled by a screw. The most famous families of violin-makers practised their craft during the 17th and 18th centuries in Cremona, Italy.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The harmonium and <i>&#347rut&#299 pe&#7789&#299</i> are two drone instruments gaining favour in recent years. The <i>&#347rut&#299 pe&#7789&#299</i> is a mechanism enclosed in a small box with bellows operated by moving one side of the box backwards and forward. Some models are made to be operated electronically. In either case once the correct pitch is set, it will be retained indefinitely. The harmonium was introduced to India in the nineteenth century and came from Europe where it was invented in 1840 by Alexandre Debain. The earlier models were not well adapted to the Indian classical idiom, but in recent years improvements have been made and tuning adjustments in the better models are so arranged that a fairly accurate <i>r&#257ga</i> scale can be played. The basic principle is the same as for the <i>&#347rut&#299</i> box, but the instrument is more complex. Tones are produced by depressing the keys on a piano-type key-board of about two and a half octaves. The dynamic level can also be controlled from loud to soft. Harmoniums are in use in most <i>gurdw&#257r&#257s</i> today with each singer playing his own accompaniment.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The invention of the <i>tabl&#257</i>, the most commonly used instrument for rhythmic tune, is credited historically to Am&#299r <u>Kh</u>usrau of the 13th century court of 'Alaudd&#299n <u>Kh</u>alj&#299 in Delhi. The name <i>tabl&#257</i> is derived from the Arabic <i>tabl</i>, a general term for small and medium sized drums in Arabic countries. The smaller of the <i>tabl&#257</i> pair of drums is called <i>tabl&#257</i> or <i>&#7693agg&#257</i> and the larger, a metal drum, is known as <i>b&#257y&#257&#7749</i>. The <i>tabl&#257</i> is made from a hollowed-out block of wood. The skin for both drum heads is stretched over the top and fastened to a braided hoop with thongs which extend over the sides of the body to a small leather ring at the base. The <i>tabl&#257</i> uses cylinderical tuning blocks placed between the thongs and the body of the drum. These can also be used on the <i>b&#257y&#257&#7749</i> if desired. By pushing the blocks up and down with a specially shaped hammer, the pitch of the drum head may be raised or lowered. The two drums are usually made to sound an octave apart but the interval of a third, fourth or fifth may also be used. Three important areas, each with its own sound, are found on the drum heads: the outer rim where the skin is double, the plain section with single skin and the centre black patch made of rice paste and iron filings. On the head of the <i>b&#257y&#257&#7749</i> the black patch is off centre and the pitch of the <i>b&#257y&#257&#7749</i> head may be varied by pressing the heel of the palm of the hand on the plain surface while stroking the head with the fingers. The second, third and fourth fingers are the ones generally used for strokes. A system of mnemonics called <i>bols</i> indicates which fingers are to be employed on which portion of the drum head. A common substitute for <i>tabl&#257</i>, where this instrument or its performer is not available, is the <i>&#7693holak</i>, a two-sided drum, the one serving as <i>&#7693agg&#257</i> and the other as <i>b&#257y&#257&#7749</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>K&#299rtan</i> derived from Sanskrit root <i>k&#299rti</i> means singing a devotional song in praise of the Lord of the Universe. The form of the <i>k&#299rtan</i> was derived from the old <i>prabandhag&#257na</i> described in the <i>Sa&#7749g&#299ta-Ratn&#257kara</i> of S&#257ra&#7749gadeva in the 13th century. <i>Padaprabandhas</i> were early classical songs which led to <i>dhrupad</i> under the impetus of R&#257j&#257 M&#257n Si&#7749gh Tomar of Gw&#257l&#299or (1496-1517). <i>Prabandhas</i> were systematically organized with three to six sections. <i>K&#299rtan</i> preserved this sort of classical arrangement using classical <i>r&#257gas</i> and <i>t&#257las</i>. These devotional songs were popular all over India and used limited improvisation and ornamentation. This made them a desirable model on which to develop the Sikh <i>shabad</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Indian Muslims had a devotional music which came into being as early as the end of the 12th century among the S&#363f&#299 followers of Chisht&#299 saints. A group of Chisht&#299s from <u>Kh</u>ur&#257s&#257n in Iran settled at Ajmer and other places in northern India, establishing a chain of monasteries between 1200 and 1350. The Chisht&#299 order extended throughout the Punjab and neighbouring areas and remained active up to the 18th century when its decline began. Its votaries came from both Hindu and Muslim communities. The S&#363f&#299s believed that "musical sound produces an influence in the soul because of its musical structure and similarity to the soul." From this devotional music came the later serious <i>qaww&#257l&#299</i> which used <i>r&#257ga</i> tunes with a limited number of <i>t&#257las</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>&#346abda k&#299rtan</i> has been an integral part of Sikh worship from the very beginning. Hymn-singing was in fact the earliest form of devotion for the Sikhs. Even in the time of Gur&#363 N&#257nak, the disciples assembled together to recite the <i>shabads</i>, i.e. hymns composed by the Gur&#363 and thus to render praise to the Lord. <i>K&#299rtan</i> has since been appropriated into the regular <i>gurdw&#257r&#257</i> service. But Sikh <i>k&#299rtan</i> eschews all expression of abandon or frenzy in the form of clapping and dancing. Laudation is proffered to the Supreme Being who is without form, <i>nira&#7749k&#257r</i> or <i>nir&#257k&#257r</i>, and not to a deity in any embodiment or incarnation. The texts of the <i>shabad k&#299rtan</i> are those that comprise the Holy Book of Sikhs known as the Gur&#363 Granth S&#257hib, or &#256di Granth, compiled by Gur&#363 Arjan in 1604. Probably no other religion shows a closer relationship between music and its scriptures than does Sikhism. The Holy Book is organized according to <i>r&#257gas</i>, 31 in number, to which the poetic hymns belong. The total number of hymns is 5,694 with 4,857 (the author's figures) contributed by six of the ten Gur&#363s and 837 by Hindu <i>bhaktas</i>, Sikh devotees and S&#363f&#299 saints. Under each <i>r&#257ga</i> the hymns of the Gur&#363s are recorded first and are arranged in the order of <i>chaupad&#257s</i> and <i>dupad&#257s</i> (hymns of 4 and 2 verses, respectively), <i>a&#7779&#7789apad&#299s</i> (hymns of 8 verses), longer poems organized around a motif, and <i>chhants</i> hymns of four or six-verses, lyrical in character, <i>v&#257rs</i> on the pattern of ballads consisting of <i>pau&#7771&#299s</i>, each <i>pau&#7771&#299</i> preceded by two or more <i>&#347lokas</i>, and hymns by <i>bhaktas</i> and other devotees similarly arranged.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Gur&#363s were highly knowledgeable of music and well-versed in the classical style. Gur&#363 N&#257nak kept with him as constant companion a Muslim musician, Mard&#257n&#257, who played the <i>rab&#257b</i> or rebeck. Gur&#363 N&#257nak wished his hymns to be sung to <i>r&#257gas</i> that express the spirit of the text and performance style to be compatible with the meaning of the hymn. The succeeding Gur&#363s followed his example. The <i>r&#257gas</i> named in the Holy Book were selected probably because of their suitability for expressing the ideals represented in the texts for which they were to be used. Over the centuries <i>r&#257ga</i> names and the exact pitch of the tones may have varied. Lack of a precise national system for Indian music indicates that the preservation of <i>r&#257gas</i> has been dependent upon oral tradition.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>R&#257ga</i> variants are those melodies to which a <i>r&#257g&#299</i> or <i>rab&#257b&#299</i>, i.e. musician, may move when beginning a new line of text or when inserting explanatory material. Over the centuries more <i>r&#257ga</i> variants have been approved than the few given in the Gur&#363 Granth S&#257hib. <i>R&#257ga</i> variants have some points in common with the main <i>r&#257ga</i> but sufficiently different to set off the textual material musically, thus. keeping the many verses from becoming musically monotonous. For example, the Gau&#7771&#299 group offers many possibilities. A main <i>r&#257ga</i> from another section of the Holy Book may also be used as a variant. <i>T&#257las</i> are left to the discretion of the performer and are usually those of the classical system although regional ones may be used for the lighter forms. <i>V&#257rs</i> (<i>&#347lokas</i> and <i>pau&#7771&#299s</i>) may be set to authorized folk tunes, some selected by the Gur&#363s themselves, and treated in light classical style. A <i>v&#257r</i> is not counted as one unit but according to the number of <i>&#347lokas, pau&#7771&#299s</i> and couplets that are included in it.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;At the conclusion of the Gur&#363 Granth S&#257hib is <i>R&#257gm&#257l&#257</i>, a classification of <i>r&#257gas</i> listing 84 measures. The Holy Book contains only 31, eight of which are not given in this <i>R&#257gm&#257l&#257</i>. This circumstance can be interpreted to mean that the classification was not done primarily for the Gur&#363 Granth S&#257hib, but was included as it had existed. The purpose of classifying <i>r&#257gas</i> according to a parent and its offspring, <i>r&#257gin&#299s</i> and <i>putras</i>, is to clarify and retain the individual character of each <i>r&#257ga</i>. Historically this has been the concern of music theorists rather than performing musicians. Since the basic notes of two or more <i>r&#257gas</i> may be the same, the performance rules and the melodic material are the chief means of maintaining the proper mood and individual character. In the Gur&#363 Granth S&#257hib, a number of affirmations have been made about the virtue of the various <i>r&#257gas</i> to induce piety and devotion. The majority of these are from Gur&#363 Amar D&#257s, third in Gur&#363 N&#257nak's line, but the other Gur&#363s too have set forth their experience about the <i>r&#257gas</i> as aids to spiritual experience. About <i>k&#299rtan</i> (music directed to the expression of devotion) it has been said : <i>k&#299rtanu nirmolak h&#299r&#257 &#257nand gu&#7751&#299 gah&#299r&#257</i> -- <i>k&#299rtan</i> is an invaluable jewel, bringing bliss, treasure of noble qualities (GG, 893). Gur&#363 Arjan says about the beauty and harmony of music to induce the mood of devotion : <i>dhanu su r&#257g suranga&#7771e al&#257pat sabh tikh j&#257i</i> which are blessed as the beautiful musical measures when performed all desire then ends (GG, 958).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Gur&#363 N&#257nak, warning the mind against voluptuous indulgence in music such as had been current in India particularly among the upper classes, says :</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>g&#299t r&#257ga ghan t&#257l si k&#363re,</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;trihu-gu&#7751a upjai binasai d&#363re;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;d&#363j&#299 durmati dardu na j&#257i,</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;chh&#363&#7789ai gurmukhi d&#257r&#363 gu&#7751a g&#257i, </i> </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;False are such songs, musical measures and reverberating accompaniments</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;As arouse the Three Qualities and, destroying devotion, draw the self away from God.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;By duality and evil thinking is suffering not removed :</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Liberation by the Master's guidance comes.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Chanting Divine Laudations is the true remedy for life's ills </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (GG, 832).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Gur&#363 N&#257nak (in R&#257ga &#256s&#257) on the ecstasy devotional music evokes :</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>r&#257g ratan par&#299&#257 parv&#257r;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;tisu vichi upjai amritu s&#257r;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;n&#257nak karte k&#257 ihu dhanu m&#257lu</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;je ko b&#363jhai ehu b&#299ch&#257ru. </i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The jewel music, born of the fairy family,</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Is source of the essence of <i>amrita; </i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;This wealth to the Creator belongs --</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Few are there this to realize. </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (GG, 351)</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The musical directions given in the text of the Gur&#363 Granth S&#257hib are detailed so as to guide the composer and performer to adhere to the proper classical tradition in music. On page 838, at the opening of the composition bearing the title <i>Thit&#299&#7749</i> (the dates) in the measure Bil&#257val, the musical direction is <i>ghar 10, jati</i>. This refers to the particular score in which the music is composed as also to the rhythm on the <i>tabl&#257</i> or drum.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Gur&#363 Amar D&#257s, whose attachment to music and its modes is deep and ecstatic, has set down his impressions of some of the musical measures in which he has composed his <i>b&#257&#7751&#299</i>.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;On Sir&#299 R&#257ga :</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>r&#257ga vichi sr&#299 r&#257gu hai je sachi dhare pi&#257ru;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;sad&#257 hari sachu mani vasai nihchal mati ap&#257ru. </i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Sir&#299 R&#257ga is to be reckoned superior to the other <i>r&#257gas</i> only if it induces love for holy Truth, whereby the holy Lord should in the self be lodged, and the mind find poise.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (GG, 83).</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;On Gau&#7771&#299 believed to be a female R&#257gin&#299:</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>gau&#7771&#299 r&#257gi sulakha&#7751&#299 je khasmai chiti karei;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; bh&#257&#7751ai chalai Satigur&#363 kai ais&#257 s&#299g&#257ru karei... </i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The R&#257g&#257 Gau&#7771&#299 is reckoned noble, should she in the Lord fix the self;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Induce obedience to the Divine Will Which is the best make-up. </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (GG, 311)</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>S&#363h&#299</i> (lit. vermilion) is woven into a figure (GG, 785). Not the flashy vermilion dye, symbolical of voluptuous pleasures but the fast red of madder (<i>maj&#299&#7789h</i>) symbolizing constancy in devotion is commanded.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Bil&#257val, in <i>Bil&#257val k&#299 V&#257r</i> (GG, 849-55), is mentioned to express constancy of devotion, twice by Gur&#363 Amar D&#257s and twice by Gur&#363 R&#257m D&#257s. Bil&#257val is the <i>r&#257ga</i> expressive of joy. True joy, however, comes not from melody but from the holy Name of God. Says Gur&#363 Amar D&#257s :</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>bil&#257valu tab h&#299 k&#299j&#299ai jab mukhi hovai n&#257mu;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;r&#257ga n&#257da sabadi soha&#7751e j&#257 l&#257gai sahaji dhi&#257nu.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;r&#257ga n&#257da chhodi Hari sev&#299ai t&#257 dargah p&#257&#299ai m&#257nu;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;n&#257nak gurmukhi brahmu b&#299ch&#257r&#299ai ch&#363kai mani abhim&#257nu. </i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; True joy comes only by utterance of the holy name;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Music, melody and the words acquire beauty from the mind in poise fixed.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Leave aside music, melody and words; serve the Lord; thereby may ye be honoured at the Divine Portal.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Saith N&#257nak: By contemplation of the Supreme Being through the Master's guidance is egoism from the mind banished. </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (GG, 849)</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;On the same page occurs another <i>&#347lok&#257:</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;bil&#257valu karihu tum pi&#257riho ekasu siu liv l&#257e&#8230.</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Ye loved ones, in devotion to the Sole Supreme Being, find you joy;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Thus will your suffering of transmigration be annulled, and in Truth shall ye be absorbed.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Ever shall ye live in joy (<i>bil&#257val</i>) and bliss, should you obey the holy Preceptor's will... </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (GG, 849)</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Gur&#363 R&#257m D&#257s, earlier on the same page, at the opening of this <i>V&#257r</i>, thus expresses the joy of Bil&#257val, the word itself implying &#8220joy".</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>hari utamu Hari prabhu g&#257vi&#257 kari n&#257du bil&#257valu r&#257gu;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;upadesu gur&#363 su&#7751i manni&#257 dhuri mastaki p&#363r&#257 bh&#257gu... </i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The Lord exalted, Supreme Master have I lauded in the tune of Bil&#257val;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The Master's teaching have I followed, by Supreme good luck ordained in Primal Time.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Day and night have I ever uttered the Lord's praise with devotion for Him in my heart lodged.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;My mind and body, in bloom, are like a garden fresh.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;By the lamp of Enlightenment by the Master lit,</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The gloom of ignorance is lifted.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;N&#257nak, servant of God, finds life from beholding the Lord's face, even though it be for a short hour. </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (GG, 849)</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Thus Gur&#363 Amar D&#257s on R&#257mkal&#299 :</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>ramkal&#299 r&#257mu mani vasi&#257 t&#257 bani&#257 s&#299g&#257ru&#8230</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;In chanting R&#257mkal&#299 as the Lord in the self is lodged, that is the truest self-decoration;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;As through the Master's land is abloom lotus of the heart,</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;On the seeker is bestowed the treasure of devotion.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;With illusion gone is the self awakened,</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;And gloom of ignorance lifted.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;She alone has true beauty that with the Lord is in love;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A woman of good repute, everlasting bliss has she with the beloved.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Egoists know not of the true make-up,</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Their life is all lost.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;One that has the make-up of other than devotion,</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;In transmigration remains caught. </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (GG, 950)</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;On Sora&#7789hi, the same vision is expressed by Gur&#363 N&#257nak and Gur&#363 R&#257m D&#257s. Gur&#363 N&#257nak in the opening <i>&#347loka</i> of <i>R&#257gu Sora&#7789hi V&#257r M. IV K&#299:</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;sora&#7789hi sad&#257 suhava&#7751&#299 je sach&#257 mani hoi&#8230</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Sora&#7789hi is pleasing should it bring to mind the holy Lord. It is pleasing, should teeth not be fouled by food unjustly obtained.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;And on the tongue should run the Lord's holy Name. </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (GG, 642)</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Gur&#363 R&#257m D&#257s in the same <i>V&#257r</i> (the same page) :</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>sora&#7789hi t&#257mi suh&#257va&#7751&#299 j&#257 hari n&#257mu &#7693ha&#7751&#7693hole... </i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Sora&#7789hi is pleasing should she go out in quest of the Lord's Name</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The Master, exalted being, should she propitiate,</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;And by wisdom granted by the Master, the Name Divine utter;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Day and night should she with Divine love be surcharged.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;And dyed in God, her vest</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;In the dye of God should she dip. </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (GG, 642)</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Gur&#363 Amar D&#257s thus expresses himself on the measure Ked&#257r&#257 :</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>ked&#257r&#257 r&#257g&#257 vichi j&#257&#7751&#299ai bh&#257&#299 sabde kare pi&#257ru... </i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Brother! Consider Ked&#257r&#257 exalted among the <i>r&#257gas</i>,</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Should one chanting it be in love with the holy Word,</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Should join holy company, and to the holy Lord be devoted;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Casting off one's own impurity, may save one's whole clan;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Should garner the wealth of noble attributes, and cast off evil qualities.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Saith N&#257nak: Truly united is he who turns not away from the Master,</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;And forms not devotion to another. </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (GG, 1087)</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;M&#257r&#363 <i>r&#257ga</i>, whose name comes from marusthal (dry land), is thus celebrated by Gur&#363 Amar D&#257s :</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>m&#257r&#363 te s&#299talu kare man&#363rahu kañchanu hoi&#8230.</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The burning hot desert He turns to coolness;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Rusted iron he turns into gold;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Praised be the Holy Lord, Supreme over all. </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (GG, 994)</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Mal&#257r, the <i>r&#257ga</i> associated with the rainy season and joys of romantic love, is thus transmuted into a spiritual experience by Gur&#363 Amar D&#257s :</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>mal&#257ru s&#299tal r&#257gu hai hari dhi&#257&#299ai s&#257nti hoi... </i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Mal&#257r's music is cooling; true peace comes from meditation on the Lord. </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (GG, 1283)</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Below is given a detailed statement of the functions and atmosphere ascribed traditionally to the various <i>r&#257gas</i>, along with the <i>b&#257&#7751&#299s</i> composed to each, within the corpus of the Gur&#363 Granth S&#257hib. In this statement the <i>bhaktas</i> and other devotees using them are not mentioned. Only the Gur&#363s are included.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;1. <i>SIR&#298 (Shr&#299) </i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; R&#257ga &#346r&#299 was favoured by the Hindus for religious occasions and is found in many of the old treatises. In the <i>R&#257gm&#257l&#257</i> listed as a parent <i>r&#257ga</i>, it currently is a member of the <i>p&#363rv&#299 th&#257&#7789a</i>. Still a popular concert <i>r&#257ga</i> today, it is considered one of the most famous from among the North Indian classical system. Gur&#363 N&#257nak, Gur&#363 Amar D&#257s, Gur&#363 R&#257m D&#257s, and Gur&#363 Arjan composed to this <i>r&#257ga</i>. Traditionally performed at sunset, it is assigned to the rainy season as well as the months of November and December. Its mood is one of majesty combined with prayerful meditation. This <i>r&#257ga</i> is always referred to as "Sir&#299 R&#257ga" rather than placing the term <i>r&#257ga</i> before the name. It accompanies about 142 <i>&#347abdas</i>.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa Re M'a, Pa Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Ni Dha, Pa M'a Ga <u>Re</u> Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Paka&#7771 : Sa, <u>Re</u> <u>Re</u> Pa, Pa M'a Ga <u>Re</u>, <u>Re</u> <u>Re</u>, Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : <u>Re</u></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Pa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;2. <i>M&#256JH</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; This <i>r&#257ga</i> is attributed to Gur&#363 N&#257nak, who developed it from a Punjabi folk tune. It does not appear in the <i>R&#257gm&#257l&#257</i> nor does it seem to be a classical <i>r&#257ga</i> today. Possibly it has been reserved purely for <i>gurb&#257&#7751&#299 sa&#7749g&#299t</i>. M&#257jh was the setting for compositions by Gur&#363 N&#257nak, Gur&#363 A&#7749gad, Gur&#363 Amar D&#257s, Gur&#363 R&#257m D&#257s and Gur&#363 Arjan. No information about this <i>r&#257ga</i> is available from English sources. The reader is referred to a Punjabi text <i>Gurmat Sa&#7749g&#299t</i> by Bh&#257&#299 V&#299r Si&#7749gh, published by the Chief <u>Kh</u>&#257ls&#257 D&#299w&#257n, Amritsar.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa Re Ma Pa Dha &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Avroh : &#346a Ni Dha Pa Ma Ga Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Ma</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;3. <i>GAU&#7770&#298</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Gau&#7771&#299 is one of several Gau&#7771&#299 <i>r&#257gas</i> and appears in the <i>R&#257gm&#257l&#257</i> as a <i>r&#257gin&#299</i> of Sir&#299 R&#257ga. This is an evening <i>r&#257ga</i> assigned to autumn and its mood is contemplative. The composition in Gau&#7771&#299 is very voluminous. Gau&#7771&#299 was used by Gur&#363 N&#257nak, Gur&#363 Amar D&#257s, Gur&#363 R&#257m D&#257s, Gur&#363 Arjan and Gur&#363 Te<u>gh</u> Bah&#257dur. Several forms of Gau&#7771&#299 exist historically and this probably accounts for the large number of variants: Gau&#7771&#299 Chet&#299, Gau&#7771&#299 Bair&#257gan, Gau&#7771&#299 D&#299pak&#299, Gau&#7771&#299 P&#363rb&#299-D&#299pak&#299, Gau&#7771&#299 Gu&#257rer&#299, Gau&#7771&#299-M&#257jh, Gau&#7771&#299 M&#257lav&#257, Gau&#7771&#299 M&#257l&#257, Gau&#7771&#299 Sora&#7789h, Gau&#7771&#299 Dakhan&#299.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa <u>Re</u> Ga <u>Re</u> Ma Pa Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Ni <u>Dha</u> Ma Pa, <u>Dha</u> Pa Ma Ga, Ga <u>Re</u> Sa Ni Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : <u>Re</u></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Pa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Occasionally <u>Re</u> is performed with a vibrate as in Sir&#299 R&#257ga which has the same <i>v&#257d&#299s. Ni</i> is given prominence through either stopping or lingering on this note.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;4. <i>&#256S&#256</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256s&#257 is a very old <i>r&#257ga</i> , once popular in the Punjab but seldom heard in concerts today. In the <i>R&#257gm&#257l&#257</i> this is a <i>r&#257gin&#299</i> of <i>r&#257ga Megha</i>. However, today it is assigned to the Bil&#257val <i>th&#257&#7789a</i>. &#256s&#257 is a devotional <i>r&#257ga</i> for the cold season and is performed in the early morning just before sunrise. However, it is also known as a twilight melody with a calm mystical mood. &#256s&#257 was used by Gur&#363 N&#257nak, Gur&#363 A&#7749gad, Gur&#363 Amar D&#257s, Gur&#363 R&#257m D&#257s, Gur&#363 Arjan and Gur&#363 Te<u>gh</u> Bah&#257dur.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa Re Ma Pa Dha &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Avroh : &#346a Ni Dha Pa Ma Ga Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; V&#257d&#299 : Ma </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Samv&#257d&#299 : Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &#256s&#257 is a crooked (<i>vakra) r&#257ga</i> in that approaches to certain notes have to be made from a set position. Its v&#257riants as given in the Holy Book are K&#257f&#299 and &#256s&#257var&#299, both of which have many features in comman with &#256s&#257. This <i>r&#257ga</i> may have originated in Mah&#257r&#257sh&#7789ra about the time of the major Muslim invasions. Its pleasing sound made it suitable for <i>bhajans</i> by the Hindu devotees.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;5. <i>G&#362JAR&#298</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The name "G&#363jar&#299" probably refers to the state of Gujar&#257t. This <i>r&#257ga</i> was in existence at the time of R&#257j&#257 M&#257n Si&#7749gh of Gw&#257l&#299or (1486-1517) who lived at a time of high musical achievement and referred to this <i>r&#257ga</i> in his writings about music. G&#363jar&#299 is rarely used as a concert <i>r&#257ga</i> today and little is known about its form. In modern times it has been supplanted by G&#363jar&#299&#7788o&#7693&#299. In the <i>R&#257gm&#257l&#257</i>, G&#363jar&#299 is listed as a <i>r&#257gin&#299</i> of R&#257ga D&#299pak. Today G&#363jar&#299&#7788o&#7693&#299 belongs to the &#7788o&#7693&#299 th&#257&#7789a. G&#363jar&#299-&#7788o&#7693&#299 may be performed during any season of the year and is assigned to the early morning hours. It produces a mood of thoughtfulness that reaches deep into the heart. Texts set to this <i>r&#257ga</i> strip away all subterfuge and make man see himself as he is and search within for the truth. While not one of the most frequently used <i>r&#257gas</i>, G&#363jar&#299 was the setting for compositions by Gur&#363 N&#257nak, Amar D&#257s, Gur&#363 R&#257m D&#257s, and Gur&#363 Arjan.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa <u>Re</u> <u>Ga</u> M'a <u>Dha</u> Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Ni <u>Dha</u> M'a <u>Ga</u> <u>Re</u>, <u>Ga</u> <u>Re</u> Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Paka&#7771 : Sa <u>Dha</u>, Ma, <u>Dha</u> Ni Sa, Ni <u>Dha</u> M'a Ga, Re, <u>Ga</u> <u>Re</u> Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Savar : <u>Re</u> <u>Ga</u> <u>Dha</u> M'a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : <u>Dha</u></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : <u>Re</u></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;6. <i>DEVAGANDH&#256R&#298</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Today Devagandh&#257r&#299 is a rare, little known, ancient <i>r&#257ga</i>. Its performance time is the morning hours. Historically it has had three forms; the less ornamented type is described here. In the R&#257gm&#257l&#257, Devagandh&#257r&#299 is a <i>r&#257gin&#299</i> of M&#257lkau&#7749sa. Today it belongs to the &#256s&#257var&#299 <i>th&#257&#7789a</i>. Its mood is one of prayerful supplication presenting a heroic effect. The texts set to this <i>r&#257ga</i> reveal a heroic search for these qualities which lead one to the Lord. This <i>r&#257ga</i> was used primarily by Gur&#363 Arjan. FortySeven hymns were composed to it including three by Gur&#363 Te<u>gh</u> Bah&#257dur and six by Gur&#363 R&#257m D&#257s.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &#256roh : Sa Re Ma Pa Dha &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Ni Dha Pa, Ma Pa, <u>Dha</u> <u>Ni</u> <u>Dha</u> Pa, Ma Ga Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Paka&#7771 : <u>Dha</u> <u>Ni</u> <u>Dha</u> Pa, Ma Ga, Sa Re Ma, Ga Sa Re Ga Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Ma</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Samv&#257d&#299 : Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;7. <i>BIH&#256GA&#7770&#256</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Bih&#257ga&#7771&#257 is very similar to the modern and very popular <i>r&#257ga</i> Bih&#257g. The resemblance is so close that many performers have trouble maintaining the significance of each. Bih&#257ga&#7771&#257 is not given in the <i>R&#257gm&#257l&#257</i>. Today it is classified under the Bil&#257val <i>th&#257&#7789a</i>. Gur&#363 R&#257m D&#257s, Gur&#363 Arjan and Gur&#363 Te<u>gh</u> Bah&#257dur set a total of 17 <i>&#347abdas, chhants</i> and a <i>v&#257r</i> to this <i>r&#257ga</i>. The performance time is between 9 p.m. and midnight, and the mood is devotional and tranquil. The texts composed to this <i>r&#257ga</i> describe the complete peace and response that come to man when he surrenders all to the Lord.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &#256roh : Ni Sa Ga Ma Pa Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Ni Dha Pa <u>Ni</u> Dha Pa Dha Ga Ma Ga Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; V&#257d&#299 : Ma</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;8. <i>VA&#7692AHA&#7748S</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Little has been written about this rare <i>r&#257ga</i>. It is not in the <i>R&#257gm&#257l&#257</i>, and today it is ascribed to the K&#257f&#299 <i>th&#257&#7789a</i>. Fifty-three <i>&#347abdas</i> plus numerous <i>&#347lokas</i> represent the total number composed to this <i>r&#257ga</i> by Gur&#363 N&#257nak, Gur&#363 Amar D&#257s, Gur&#363 R&#257m D&#257s and Gur&#363 Arjan. <i>Va&#7693aha&#7749s</i> is considered suitable for the cold season and is assigned to the afternoon hours. Its mood is quiet and tender. Texts set to the <i>r&#257ga</i> explain how the Gur&#363 alone can lead one to the Lord. Without the Lord one is likened to a woman without the love of her spouse.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa Re Ma Pa, Dha <u>Ni</u> Pa, Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a <u>Ni</u> Pa, Dha Ma Ga Re, Sa Ni Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Re</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Pa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;9. <i>SORA&#7788HI</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; R&#257ga Sora&#7789hi appears in the <i>R&#257gm&#257l&#257</i> as a <i>r&#257gin&#299</i> of R&#257ga Megha; today it belongs to the Kham&#257j <i>th&#257&#7789a</i>. Besides Gur&#363 N&#257nak, Sora&#7789hi was used by Gur&#363 N&#257nak, Gur&#363 Amar D&#257s, Gur&#363 R&#257m D&#257s, Gur&#363 Arjan and Gur&#363 Te<u>gh</u> Bah&#257dur for a total of 150 hymns plus numerous <i>&#347lokas</i>. Sora&#7789hi belongs to the cold season and is performed in the first quarter of night. The mood is light and cheerful, with a pleasing sound resembling R&#257ga Desh. The texts composed to this <i>r&#257ga</i> show how the words of the Gur&#363 can enlighten the mind. All fears vanish and one is filled with bliss.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa Re Ma Pa Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Re <u>Ni</u> Dha, Ma Pa Dha Ma Ga Re Ni Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Re</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Dha</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The melodies are characterized by sweeping phrases with glides connecting all leaps, even the shorter ones. Movement is moderately fast.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;10. DHAN&#256SR&#298</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; R&#257ga Dhan&#257sr&#299 appears in the <i>R&#257gm&#257l&#257</i> as a <i>r&#257gin&#299</i> of M&#257lkau&#7749sa and currently is a member of the K&#257f&#299 <i>th&#257&#7789a</i>. It closely resembles Bhimpal&#257s&#299 in musical content but the <i>v&#257d&#299s</i> and moods are different. Dhan&#257sr&#299 is performed in the early afternoon and presents a cheerful, happy mood. It provided the setting for hymns by Gur&#363 N&#257nak, Gur&#363 Amar D&#257s, Gur&#363 R&#257m D&#257s, Gur&#363 Arjan and Gur&#363 Te<u>gh</u> Bah&#257dur for a total of 101 hymns. These texts stress that man reaps what he sows. Only in the Lord may be found the riches that dispel fear and ignorance and thus cause man to realize his true self.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa <u>Ga</u> Ma Pa <u>Ni</u> &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a <u>Ni</u> Dha Pa Ma Pa Ga Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Pa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>Pa</i> is given considerable emphasis and <i><u>Ni</u></i> and <i>Pa</i> receive sliding approaches, a characteristic of this <i>r&#257ga</i>. The pentatonic ascent provides some of the melodic features of this <i>r&#257ga</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;11. <i>JAITSR&#298</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Jaitsr&#299 does not appear in the <i>R&#257gm&#257l&#257</i> nor is it found in the modern literature on the subject. Bh&#257&#7789kha&#7751&#7693e gives Jait-Kaly&#257n but this is not to be confused with the above. However, Jaitsr&#299 does appear in a 17th century classification, but not in later ones. Gur&#363 R&#257m D&#257s, Gur&#363 Arjan and Gur&#363 Te<u>gh</u> Bah&#257dur composed 30 hymns, a <i>v&#257r</i> and several <i>&#347lokas</i> to this <i>r&#257ga</i>. Today R&#257ga Jait is found under the M&#257rva <i>th&#257&#7789a</i> and is assigned to the evening hours. A mood of gentle quietness and mystery pervades this <i>r&#257ga</i>. The texts describe the meditative thoughts of a devotee who has surrendered himself to his Gur&#363 and Lord. R&#257ga Jait has two forms and the second includes some elements from Sir&#299 R&#257ga and perhaps this is nearest the original Jaitsr&#299.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa Ga Ma Pa Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Ni <u>Dha</u> Pa Ma Ga Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Paka&#7771 : Sa, Ga Pa M'a <u>Dha</u> Pa M'a Ga, M'a Ga <u>Re</u> Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Ga</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Ni</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Because of the two different ways of singing this <i>r&#257ga</i>, melodic patterns are not fixed.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;12. <i>&#7788O&#7692&#298</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; A <i>r&#257gin&#299</i> of D&#299pak in the <i>R&#257gm&#257l&#257</i>, &#7788o&#7693&#299 is today the head of a <i>th&#257&#7789a</i>. It is considered one of the most important of the north Indian <i>r&#257gas</i>. &#7788o&#7693&#299 was used by the Gur&#363s for 32 hymns. This is a <i>r&#257ga</i> for the late morning hours and the mood is gentle, with an aura of adoration. The texts composed to this <i>r&#257ga</i> emphasize that no matter what problems man meets or what worldly affairs distract the mind, devotion to the Lord brings one back to the path of release from worldliness.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa <u>Re</u> <u>Ga</u> M'a Pa <u>Dha</u> Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Ni <u>Dha</u> Pa M'a <u>Ga Re</u> Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Paka&#7771 : <u>Dha</u> &#7750i Sa, <u>Re</u> <u>Ga</u>, Re Sa, M'a <u>Ga</u> Pa M'a Ga, <u>Re</u> <u>Ga</u> <u>Re</u> <u>Sa</u></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : <u>Dha</u></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : <u>Re</u></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;13. <i>BAIR&#256&#7770&#298</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; This <i>r&#257ga</i> appears in the <i>R&#257gm&#257l&#257</i> as the first <i>r&#257gin&#299</i> of Sir&#299 R&#257ga. In the <i>Mesakar&#7751a R&#257gm&#257l&#257</i> (1509), which is almost the same as that of the Gur&#363 Granth S&#257hib, the first <i>r&#257gin&#299</i> of Sir&#299 R&#257ga is given as Vair&#257&#7789&#299. However, modern sources do not give Bair&#257&#7771&#299 nor Vair&#257&#7789&#299 but Bar&#257&#7771&#299 and Var&#257&#7771&#299 as well as Var&#257&#7789&#299 are listed. Kaufmann believes that all of these names refer to the same <i>r&#257ga</i>, Bar&#257&#7771&#299. Whether this is the same as the old <i>Bair&#257&#7771&#299</i> is open to question. The possibility always exists that Bair&#257&#7771&#299 was a regional tune. It was used by Gur&#363 R&#257m D&#257s for six short hymns and by Gur&#363 Arjan for one. The performance time for Bair&#257&#7771&#299 is during the evening hours and it is currently assigned to the M&#257rva <i>th&#257&#7789a</i>. It resembles P&#363rva Kaly&#257n, the main difference being the use of <i>Pa</i> which is strong in Bair&#257&#7771&#299 and weak in P&#363rva-Kaly&#257n. Popley places Bair&#257&#7771&#299 in the same group as Sir&#299 R&#257ga and this would agree with the <i>R&#257gm&#257l&#257</i>.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : &#7750i <u>Re</u> Ga Pa, M'a Ga, M'a Dha &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Ni Dha P'a, M'a Ga, Pa Ga, Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Ga</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Dha</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;14. <i>TILA&#7748G</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Favoured by Muslims, this <i>r&#257ga</i> occurs in the <i>R&#257gm&#257l&#257</i> as a <i>r&#257gin&#299</i> of Hi&#7751&#7693ol. Today, it belongs to the Kham&#257j <i>th&#257&#7789a</i>. Tila&#7749g was used by Gur&#363 N&#257nak (6 hymns), Gur&#363 R&#257m D&#257s (3), Gur&#363 Arjan (5), Gur&#363 Te<u>gh</u> Bah&#257dur (3), Kab&#299r (1) and N&#257mdev (2) for a total of 20 hymns. Tila&#7749g is performed at night and has a calm and pleasing mood. In the texts composed for this <i>r&#257ga</i>, the question is asked why man should cling to all the evils of this life when Gur&#363 N&#257nak has shown the way to true happiness and fulfilment.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa Ga Ma Pa Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a <u>Ni</u> Pa Ma Ga Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Ga</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samvad&#299 : Ni</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;15. <i>S&#362H&#298</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; S&#363h&#299 is classified in the <i>R&#257gm&#257l&#257</i> as a <i>r&#257gin&#299</i> of Megha. It was a favourite with Muslims and was considered proper for the hot season. Today this <i>r&#257ga</i> belongs to the K&#257f&#299 <i>th&#257&#7789a</i> and its performance time is late morning. In the Holy Book one variant is given, R&#257ga S&#363h&#299 Lalit. S&#363h&#299 was used by Gur&#363 N&#257nak, Gur&#363 A&#7749gad, Gur&#363 Amar D&#257s, Gur&#363 R&#257m D&#257s and Gur&#363 Arjan for 130 hymns, a <i>v&#257r</i> plus many <i>&#347lokas</i>.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa Re Ga Ma Pa, Ni Dha Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a <u>Ni</u> Dha Pa, Ma Ga, Re Ga Re, Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Pa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;16. <i>BIL&#256VAL</i> (ancient name Vel&#257val&#299)</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Bil&#257val had become the basic scale for North Indian music by the early part of the 19th century. Its tonal relationships are comparable to the Western C-major scale. Bil&#257val appears in the <i>R&#257gm&#257l&#257</i> as a <i>r&#257gin&#299</i> of Bhairava, but today it is the head of the Bil&#257val <i>th&#257&#7789a</i>. The <i>R&#257gm&#257l&#257</i> gives Bil&#257val as a <i>putra</i> (son) of Bhairav, but no relation between these two <i>r&#257gas</i> is made today. Bil&#257val is a morning <i>r&#257ga</i> to be sung with a feeling of deep devotion and repose, often performed during the hot months. Over 170 hymns were composed to this <i>r&#257ga</i> by Gur&#363 N&#257nak, Gur&#363 Amar D&#257s, Gur&#363 R&#257m D&#257s, Gur&#363 Arjan and Gur&#363 Te<u>gh</u> Bah&#257dur.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Aroh : Sa Re Ga, Ma Pa, Dha, Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Ni Dha, Pa, Ma Ga, Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Paka&#7771 : Ga Re, Ga Ma Dha Pa, Ma Ga, Ma Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Dha</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Ga</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;17. <i>GO&#7750&#7692</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The <i>R&#257gm&#257l&#257</i> records Gau&#7751&#7693 and Gu&#7751&#7693 as <i>putras</i> (sons) of Sir&#299 R&#257ga, but does not give Go&#7751&#7693. The possibility exists that Go&#7751&#7693 is a regional <i>r&#257ga</i> derived from that group of <i>r&#257gas</i> with similar names and characterized by phrases from other <i>r&#257gas</i> e.g. Bil&#257val, K&#257na&#7771&#257 and Mal&#257r. Such names as Gau&#7751&#7693a, Ga&#7751&#7693, Gou&#7751&#7693a, Gau&#7751&#7693&#299, Gou&#7751&#7693gir&#299, and Gu&#7751&#7693a appear in classifications from the 11th to the 17th centuries. For those still known today (Gau&#7693&#299, Goun&#7693gir&#299, and Gou&#7693) performance rules are obscure. Performance time is late afternoon or early evening and the mood is comtemplative and dignified. Go&#7751&#7693 was used by Gur&#363 R&#257m D&#257s and Gur&#363 Arjan (29 hymns). The texts beseech man to depend solely on the Lord for all benefits since it is He who has given him all his blessings.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa Re Ga Ma, Pa Dha Ni Dha Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Ni Dha Ni Dha Pa, Ma Ga, Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Paka&#7771 : Re Ga Ma, Pa Ma, Ma Pa Ni Dha Ni Dha Ni Sa, Ni Dha Ni Pa, Dha Ma</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Ma</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;18. <i>R&#256MKAL&#298</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; R&#257mkal&#299 is not given in the <i>R&#257gm&#257l&#257</i> but is one of the most important <i>r&#257gas</i> of the Gur&#363 Granth S&#257hib. All Gur&#363s, including Gur&#363 Te<u>gh</u> Bah&#257dur, have composed verses to this <i>r&#257ga</i>. The total number of <i>&#347abdas</i> comes to over three hundred. R&#257mkal&#299 is a morning <i>r&#257ga</i> performed after sunrise usually during the hot season. The mood is such as to inspire lofty thoughts. In the Gur&#363 Granth S&#257hib, a number of hymns in R&#257mkal&#299 expound True Yoga and other spiritual issues. Some celebrated compositions such as <i>Sidha Gos&#7789i, Anandu, Sadd, Oa&#7749k&#257r</i> and the <i>V&#257r</i> by Satt&#257 and Balva&#7751&#7693 are composed to this <i>r&#257ga</i>. Some of the verses also contain analogies to music and musical instruments. Four forms of this <i>r&#257ga</i> are recognized, although only two are in general use today. The <i>r&#257ga</i> belongs to the Bhairav <i>th&#257&#7789a</i>.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa Ga. Ma Pa <u>Dha</u> Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Ni <u>Dha</u> Pa, M'a Pa <u>Dha</u> <u>Ni</u> <u>Dha</u> Pa, Ga Ma <u>Re</u> Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Pakar : <u>Dha</u> Pa, Ma Pa, <u>Dha</u> <u>Ni</u> <u>Dha</u> Pa, Ga, Ma <u>Re</u> Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Pa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Re</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;19. <i>NA&#7788 N&#256R&#256I&#7750</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; In the <i>R&#257gm&#257l&#257</i>, Na&#7789 is given as <i>putra</i> (son) of Megha while today Na&#7789 N&#257r&#257i&#7751 appears under the Bil&#257val <i>th&#257&#7789a</i> and is assigned to the evening hours. This <i>r&#257ga</i> was used by Gur&#363 R&#257m D&#257s and Gur&#363 Arjan. Na&#7789 N&#257r&#257i&#7751 is pictured as a warrior riding to battle. In the Holy Book, the fight against sin is never ending but those who seek refuge in the Lord have their suffering removed.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa Ga Ma Re, M'a Pa Dha Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Dha Pa M'a Dha Pa, Ga Ma Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Paka&#7771 : Sa Ma Ga Ma Pa, Dha Pa, Ma, Ga Ma Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; V&#257d&#299 : Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Re</p> </blockquote> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;20. <i>M&#256L&#298 GAU&#7770&#256</i> </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Gau&#7771&#257 is listed in the <i>R&#257gm&#257l&#257</i> as a <i>putra</i> (son) of D&#299pak, but not M&#257l&#299 Gau&#7771&#257. Currently classified under the M&#257rva <i>th&#257&#7789a</i>, M&#257l&#299 Gau&#7771&#257 is performed in the evening at sunset. In recent years it is rarely heard in concert. Gur&#363 R&#257m D&#257s and Gur&#363 Arjan composed to this <i>r&#257ga</i> 14 hymns included in the Holy Book.</p> <blockquote class="C1"> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa <u>Re</u> Sa Ni Dha Sa <u>Re</u> Ga M'a Pa, Dha Ni Dha &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Avroh : &#346a Ni <u>Dha</u> Pa, M'a Ni Dha M'a Ga, Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; V&#257d&#299 : Re</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Samv&#257d&#299 : Pa</p> </blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;21. <i>M&#256R&#362</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; M&#257r&#363 is an old <i>r&#257ga</i> seldom heard in concerts today. Some theorists equate it with Maruva or Marva. In the <i>R&#257gm&#257l&#257</i>, M&#257r&#363 is a <i>putra</i> (son) of M&#257lkau&#7749sa. It is found in other classifications from the 14th to the early 19th century. M&#257r&#363 was used by Gur&#363 N&#257nak, Gur&#363 Amar D&#257s, Gur&#363 R&#257m D&#257s, Gur&#363 Arjan and Gur&#363 Te<u>gh</u> Bah&#257dur for 144 hymns, two <i>v&#257rs</i> plus a large number of <i>&#347lokas</i>. One of its variations is M&#257r&#363 K&#257f&#299. M&#257r&#363 is assigned to the hours of sunset and is considered suitable for the cold season. The mood is quiet and contemplative. The tonal material given here is for M&#257r&#363 Bih&#257g, Bil&#257val <i>th&#257&#7789a</i>.</p> <blockquote class="C1"> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa Ga Ma Pa, Dha Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Avroh : &#346a <u>Ni</u> Dha Pa, M'a Pa <u>Dha</u> Ni <u>Dha</u> Pa Ma Ga Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Paka&#7771 : Pa Dha <u>Ni</u> Dha Pa Ma Pa Ma Ga, Pa Dha Pa Ga Re, Ga Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; V&#257d&#299 : Pa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Samv&#257d&#299 : Ni</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;22. <i>TUKH&#256R&#298</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Tukh&#257r&#299 was probably based on a folk tune and was very likely developed by Gur&#363 N&#257nak into a <i>r&#257ga</i> for the singing of certain <i>&#347abdas</i>. No <i>r&#257ga</i> of this name appears in the classifications of the period when <i>&#347abdas</i> were being composed and the Holy Book compiled. A <i>r&#257ga</i> called Mukh&#257r&#299 may be found in the classifications of Karn&#257&#7789aka (South Indian) <i>r&#257gas</i> during the period from the 15th to the 18th centuries. Tukh&#257r&#299 was used by Gur&#363 N&#257nak, Gur&#363 R&#257m D&#257s and Gur&#363 Arjan. Gur&#363 N&#257nak's composition <i>B&#257r&#257 M&#257h&#257</i> is set to this R&#257ga. It appears to be a <i>r&#257ga</i> for the morning hours to be sung in winter. Its name Tukh&#257r&#299 is the popular form of <i>tush&#257r</i> (Sanskrit for winter frost). No melodic material for the Tukh&#257r&#299 is available but, for the sake of comparison, the scale of Mukh&#257r&#299 is given:</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Ni Sa, <u>Ga</u> Ma Pa, Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Ni Dha Pa, <u>Ni</u> Dha Pa, M'a <u>Ga</u> Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Paka&#7771 : <u>Ni</u> <u>Ni</u> Dha Pa, Ma Pa, Ma <u>Ga</u>, Re</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Pa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;23. <i>KED&#256R&#256</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Ked&#257r&#257 is an old <i>r&#257ga</i> dating from Gur&#363 N&#257nak's time or even earlier which has become a very important and popular North Indian <i>r&#257ga</i> today. It is supposed to possess magical qualities, if correctly performed, which can heal the sick. In the <i>R&#257gm&#257l&#257</i>, Ked&#257r&#257 is a <i>putra</i> (son) of Megha but currently is in the Kaly&#257n <i>th&#257&#7789a</i>. Ked&#257r&#257 was used by Gur&#363 R&#257m D&#257s and Gur&#363 Arjan for a few short hymns. Several forms of Ked&#257r&#257 have been and still are in use. Thus considerable freedom of choice may be exercised by the performer as to how this <i>r&#257ga</i> be performed in association with a given text. In the most commonly used form, Ked&#257r&#257 is performed during the first quarter of the night and is particularly auspicious when the moon is visible, a planet with which it has long been associated. The mood is one of contemplation associated with a sort of ascetic idealism. The sadness expressed in <i>R&#257gm&#257l&#257</i> paintings suggests the longing of man for the Supreme Being when this <i>r&#257ga</i> accompanies a <i>&#347abda</i>. The Ked&#257r&#257 scale is <i>vakra</i> (crooked) with unusual intervals:</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa Ma, Ma Pa, Dha Pa, Ni Dha &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Ni Dha Pa, M'a Pa Dha Pa Ma, Ma Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Ma</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;24. <i>BHAIRO&#7748</i> </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Bhairo&#7749 was an important <i>r&#257ga</i> at the time of Gur&#363 N&#257nak and has continued to retain its significance and popularity. Bhairo&#7749 (not to be confused with Bhairav&#299) appears in the <i>R&#257gm&#257l&#257</i> as husband of Bhairav&#299 and four other <i>r&#257gin&#299s</i>. Today it is the head <i>r&#257ga</i> for one of the ten <i>th&#257&#7789as</i>. The <i>R&#257ga S&#257gara</i>, a treatise of <i>circa</i> 8th century, describes this <i>r&#257ga</i> as awe-inspiring and as expressing the "fulfilment of the desire of worship". Mesakar&#7751a (1509) calls this morning melody of the autumn season one of awesome grandeur. Performed before sunrise, this <i>r&#257ga</i> was used by Gur&#363 N&#257nak, Gur&#363 Amar D&#257s, Gur&#363 R&#257m D&#257s, and Gur&#363 Arjan for 99 hymns.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa <u>Re</u>, Ga Ma Pa <u>Dha</u>, Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Ni, <u>Dha</u> <u>Dha</u> Pa, Ma Ga, <u>Re</u> <u>Re</u> Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Dha</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Re</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The <i>v&#257d&#299s</i> are performed with a slow, wide vibrato which may begin with the <i>v&#257d&#299</i> itself or the highest limit to which it will extend. In descent the vibrato must begin with upper limit. Otherwise Bhairo&#7749 has few characteristic phrases.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;25. <i>BASANT</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The name Basant is from Sanskrit <i>vasant</i> meaning spring, and during that season of the year Basant may be performed at any time of the day or night. Otherwise, it is reserved for the night between 9 p.m. and midnight. The <i>R&#257gm&#257l&#257</i> gives Basant as a <i>putra</i> (son) of Hi&#7751&#7693ol, also a spring <i>r&#257ga</i>. Today it belongs to the P&#363rvi <i>th&#257&#7789a</i>. The only variant noted in the Holy Book is Basant-Hi&#7751&#7693ol. Basant is a very old <i>r&#257ga</i> dating from the 8th century. Gur&#363 N&#257nak, Gur&#363 Amar D&#257s, Gur&#363 R&#257m D&#257s, Gur&#363 Arjan and Gur&#363 Te<u>gh</u> Bah&#257dur composed <i>&#347abdas</i> to this <i>r&#257ga</i>. Performed in slow tempo, this gentle melody depicts quiet joy. The descending scale is usually found at the beginning of a composition with the ascending form following later.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa Ga Ma Dha Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Ni Dha Pa Ma, Ga Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257di : Ma</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;26. <i>S&#256RA&#7748G</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; S&#257ra&#7749g is reputed to have acquired its name from the famous 14th century music theorist, S&#257ra&#7749gadeva. The S&#257ra&#7749g <i>r&#257ga</i> consists of a group of seven, each of which is combined with some other <i>r&#257ga</i>. Today when S&#257ra&#7749g is given as the <i>r&#257ga</i>, it usually means Brind&#257vani-S&#257ra&#7749ga, a member of the K&#257f&#299 <i>th&#257&#7789a</i>. Performed during the midday period, its mood is quiet and peaceful. In the <i>R&#257gm&#257l&#257</i>, S&#257ra&#7749g is listed as a <i>putra</i> (son) of Sir&#299 R&#257ga. S&#257ra&#7749g is an important <i>r&#257ga</i> in the Gur&#363 Granth S&#257hib and was used extensively by Gur&#363 Arjan. However, Gur&#363 N&#257nak, Gur&#363 Amar D&#257s, Gur&#363 R&#257m D&#257s and Gur&#363 Te<u>gh</u> Bah&#257dur also composed <i>&#347abdas</i> to this <i>r&#257ga</i> and Gur&#363 A&#7749gad used it for some <i>&#347lokas</i>.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa Re Ma Pa Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a <u>Ni</u> Pa Ma Re, Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Paka&#7771 : &#7750i Sa Re, Ma Re, Pa Ma Re, &#7750i Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Re</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Pa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;27. <i>MAL&#256R</i> (MALL&#256R or MALH&#256R)</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Mal&#257r is one of the rainy-season <i>r&#257gas</i> performed from June to September. During the monsoons, Mal&#257r can be sung at any time of the day or night; otherwise, it is designated for late evening or early morning. Its mood is joyful because the rains cause the crops to grow and the flowers to bloom. Mal&#257r is frequently combined with other <i>r&#257gas</i>, particularly Megha. T&#257nsen added some changes to Malh&#257r and this <i>r&#257ga</i> is known as M&#299&#257&#7749 k&#299 Malh&#257r. In the <i>R&#257gm&#257l&#257</i>, Gau&#7751&#7693-Mal&#257r is described as a <i>r&#257gin&#299</i> of Megha and is the only one with a Malh&#257r name. Today the Malh&#257r <i>r&#257gas</i> are assigned to the K&#257f&#299 <i>th&#257&#7789a</i>. A favourite of Hindu musicians, Malh&#257r was used by Gur&#363 N&#257nak, Gur&#363 A&#7749gad, Gur&#363 Amar D&#257s, Gur&#363 R&#257m D&#257s, and Gur&#363 Arjan. The pure Malh&#257r is seldom performed today, and it might be heard in one of its combinations.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa, Re Ga Ma, Ma Re Pa, Ni Dha Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a, Dha <u>Ni</u> Pa, Ma Ga Ma, Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Paka&#7771 : Sa Re Ga Ma, Ma Re Pa, Dha <u>Ni</u> Pa, Ma Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Ma</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;28. <i>K&#256NA&#7770&#256</i> (K&#257na&#7693a)</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The modern name for this <i>r&#257ga</i> appears to be "K&#257na&#7693a", probably a matter of transliteration from its original name. Under the K&#257na&#7771&#257 spelling this <i>r&#257ga</i> was prevalent in the classifications of 16th and 17th centuries. However, in one instance, K&#257na&#7771&#257 and K&#257na&#7693a both appear in the same <i>r&#257gm&#257l&#257</i>. This would indicate that at one time these were two distinctly different <i>r&#257gas</i>. K&#257na&#7771&#257 was used by Gur&#363 R&#257m D&#257s and Gur&#363 Arjan for 69 hymns, a <i>v&#257r</i> plus numerous <i>&#347lokas</i>. In the <i>R&#257gm&#257l&#257</i>, K&#257na&#7771&#257 is a <i>putra</i> of D&#299pak. The modern K&#257na&#7693a is one of a group of many K&#257na&#7693a <i>r&#257gas</i> which are combinations of K&#257na&#7693a with other <i>r&#257gas</i>; one of the most popular is Darb&#257r&#299 K&#257na&#7693a classified under the &#256s&#257var&#299 <i>th&#257&#7789a</i>. Assigned to the night hours, its mood is quiet and full of majesty. Darb&#257r&#299-K&#257na&#7693a is performed in slow tempo and is a popular concert form today. The details of this <i>r&#257ga</i> :</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &#256roh : Sa Re Ga, Ma Pa, Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a, <u>Ni</u> Pa, Ma Pa, <u>Ga</u> Ma Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Pa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;29. <i>KALI&#256N</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Indian Sanskrit name for this <i>r&#257ga</i> is Kaly&#257n and the Persian is Yuman. In the <i>R&#257gm&#257l&#257</i>, Kali&#257n is the son of D&#299pak while today it is the head of the Kali&#257n <i>th&#257&#7789a</i>. It is performed during the first part of the night and is considered a blessing bringing all good into one's life. Gur&#363 R&#257m D&#257s and Gur&#363 Arjan composed 23 hymns to this <i>r&#257ga</i>. The texts exalt the far-reaching and all-pervading power of the Lord. In the Holy Book the only <i>r&#257ga</i> variant given is Bhop&#257l&#299 (Bh&#363p&#257l&#299).</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Ni Re Ga, M'a Pa, Dha, Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Ni Dha, Pa, M'a Ga, Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Paka&#7771 : &#7750i Re Ga, Re Sa, Pa M'a Ga, Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Ga</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Ni</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;30. <i>PRABH&#256T&#298</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Prabh&#257t&#299 does not appear in the <i>R&#257gm&#257l&#257</i>; the nearest to it in name is Prabal. Prabh&#257t&#299 belongs to the Bhairav <i>th&#257&#7789a</i> and is often combined with R&#257ga Bhairav. Prabh&#257t&#299 was the setting used for some 58 hymns by Gur&#363 N&#257nak, Gur&#363 Amar D&#257s, Gur&#363 R&#257m D&#257s and Gur&#363 Arjan. This is a morning <i>r&#257ga</i> to be performed in a slow and dignified manner.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa Re Ga Pa Dha &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a Ni Dha Ni Pa Ga Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Paka&#7771 : Pa Pa Sa, Ni Dha Ni Pa, Pa Dha Ga Pa, Dha Pa Dha</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Pa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;31. <i>JAIJ&#256VANT&#298</i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Jaij&#257vant&#299 was used only by Gur&#363 Te<u>gh</u> Bah&#257dur for four hymns. This <i>r&#257ga</i> does not appear in the <i>R&#257gm&#257l&#257</i> but was known as J&#257vanta as early as the 14th century. Today it is regarded as an important <i>r&#257ga</i> belonging to the Kham&#257j <i>th&#257&#7789a</i>. This majestic and highly arresting <i>r&#257ga</i> is assigned to the night hours.</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&#256roh : Sa, Re Ga Ma Pa, Ni &#346a</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Avroh : &#346a <u>Ni</u> Dha Pa, Dha Ma, Re <u>Ga</u> Re Sa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Paka&#7771 : Re Ga Re Sa, &#7750i Dh&#803a Pa Re</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;V&#257d&#299 : Re</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Samv&#257d&#299 : Pa</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Besides the <i>&#347abdas</i>, there are 22 <i>v&#257rs</i> or ballads in the Holy Book of the Sikhs which form a class by themselves. <i>V&#257r</i>, a genre mainly of Punjabi origin, comprises a number of stanzas called <i>pau&#7771&#299s</i>, sung by performing groups of three or four <i>&#7693h&#257&#7693&#299s</i> each to the accompaniment of <i>&#7693ha&#7693&#7693hs</i>, small two-faced drums held in one hand and played by the fingers of the other, and a <i>s&#257ra&#7749g&#299. V&#257rs</i> in the Gur&#363 Granth S&#257hib also have two or more <i>&#347lokas</i> preceding each <i>pau&#7771&#299</i>. The <i>&#347lokas</i> are recited solo by the <i>&#7693h&#257&#7693&#299s</i> (or <i>r&#257g&#299s</i>) in turn while <i>pau&#7771&#299s</i> are sung in unison by the group in traditional tunes of various folk ballads. To some of the <i>v&#257rs</i> Gur&#363 Arjan, who compiled the Holy Book, added directions with regard to the tunes in which they were to be sung.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Compositions of the <i>bhaktas</i> and other devotees included in the Gur&#363 Granth S&#257hib are also placed under appropriate <i>r&#257gas</i> and are to be sung accordingly. Besides the contents of the Gur&#363 Granth S&#257hib, compositions of Gur&#363 Gobind Si&#7749gh whose writings form a separate Book, the <i>Dasam Granth</i>, Bh&#257&#299 Gurd&#257s (d. 1636) and Bh&#257&#299 Nand L&#257l Goy&#257 are approved canon for recitation as part of <i>gurdw&#257r&#257</i> service. In his voluminous corpus, Gur&#363 Gobind Si&#7749gh employs a vast variety of prosodic forms and metres, but hymns usually sung by <i>r&#257g&#299s</i> are his <i>kabitts, svaiyy&#257s</i> and <i>&#347abdas</i>. The work of Bh&#257&#299 Gurd&#257s comprises <i>v&#257rs</i> and <i>kabitts</i> and <i>savaiyy&#257s</i>, the first-named in chaste Punjabi and the two latter in <i>sadh&#363ka&#7771&#299</i>, a form of Hindi mixed with regional diction. Bh&#257&#299 Nand L&#257l wrote primarily in Persian using <i><u>gh</u>azal</i> as his principal poetic form.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Dating from the time of the Gur&#363s, the preservation of the correct performance style has always been a major concern. Mard&#257n&#257 is reputed to have been the first to create a school for such training. Gur&#363 Arjan is credited with establishing the <i>gurmat sa&#7749g&#299t</i> or the approved style of hymn-singing for the training of <i>r&#257g&#299s</i> and <i>rab&#257b&#299s</i>. He, himself, undertook the teaching of the pupils and was particular about the accurate rendering of the <i>&#347abdas</i>. Old musical structure and style have survived through some traditional families. Some venerable centres have continued over the generations the programme of instruction for <i>gurdw&#257r&#257</i> musicians, among them the one at Daudhar. A few other places that have contributed to the preservation of the style are the Prach&#257rak Vidy&#257l&#257 at Tarn T&#257ran, near Amritsar, the Sis Gañj Gurdw&#257r&#257 in Delhi and the Shah&#299d Sikh Missionary College, Amritsar.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Sikh music has some limitations placed upon it in order that the religious requirements of the performance may be retained. Emphasis is placed on the melodic line so as to enhance the meaning of the text. The purpose of the musical settings of the words of the Gur&#363s is to impress these upon the consciousness of the listeners through emotional as well as intellectual appeal. The Gur&#363s aimed at conveying experience through the "feelings" to make the maximum impact. Therefore, important words of the text should fall on important notes of the <i>r&#257ga</i>. Poetic pauses should also be observed. The message must reach the listener through clearly enunciated words. Hymns should be sung with affirmation in a full voice and this gives Sikh music its distinctive character. Tempos may be only slow and medium, not fast. <i>Sargam</i> (singing with Sa-Re-Ga) and fast <i>t&#257ns</i> (rhythmic melodic figurations) are not permitted because they attract attention to themselves. <i>Gamaks</i> or ornaments are limited to those essential to the correct performance of a <i>r&#257ga</i>, such as glides between notes, to maintain a connected melodic line. Words must be pronounced clearly and accurately with no adjustments for musical effects. <i>R&#257gas</i> to be used may include only those specified or authorized, so that the emotional content may not be varied by the <i>r&#257g&#299s</i>. The music must be free of secular characteristics which may be in vogue at any given time. However, the purpose is not to inhibit the creative faculties of the performers lest the vitality of the music be sacrificed. Hand gestures and clapping, so much a part of classical performance, are not in keeping with the required mood of tranquillity. Hence these are totally prohibited. No appreciation may be shown to the musicians except in the dignified ways ordained by the Sikh religion. Congregational singing is encouraged on certain occasions. For this the <i>r&#257g&#299</i> sings a phrase or line and the congregation repeats. Or, sometimes, the congregation divides itself in two parts, each of them alternately singing lines in unison.</p> </font> <p class="BIB"> BIBLIOGRAPHY<p class="C1"><ol class="C1"><li class="C1"> T&#257r&#257 Si&#7749gh, Pandit, <i>Granth Guru G&#299r&#257rath Ko&#347</i>. Lahore, 1895<BR> <li class="C1"> Charan Si&#7749gh, <i>Sr&#299 Gur&#363 Granth B&#257&#7751&#299 Beur&#257</i>. Amritsar, 1860<BR> <li class="C1"> Gi&#257n Si&#7749gh, <i>Gurb&#257&#7751&#299 Sa&#7749g&#299t</i>. Amritsar, 1961<BR> <li class="C1"> Avt&#257r Si&#7749gh, Bh&#257&#299, and Bh&#257&#299 Gurcharan Si&#7749gh, <i>Gurb&#257&#7751&#299 Sang&#299t Pr&#257ch&#299n R&#299t Ratn&#257val&#299</i>. Patiala, 1979<BR> <li class="C1"><i>Simrit&#299 Granth : Adut&#299 Gurmat-Sa&#7749g&#299t Samelan</i>. Ludhiana, 1991<BR> <li class="C1"> Jasb&#299r Kaur, <i>Gurmat Sa&#7749g&#299t d&#257 Itih&#257sik Vik&#257s</i> (unpublished Ph.D. Thesis). Chandigarh : Panjab University, 1993<BR> </ol><p class="CONT">Marie Joy Curtiss<br></p><BR> </font> <img src="counter.aspx" width="1px" height="1px" alt=""> </HTML></BODY>