SI
Sikh music
Sikh music is the classical music style that is practised within Sikhism. It exists in institutional, popular, and folk traditions, forms, and varieties. Three types of Sikh musicians are rababis,
Terminology#
Sikh music is also known as Gurbani Sangeet (; meaning music of the speech of wisdom), or Gurmat Sangeet (; meaning music of the counsel or tenets of the Guru), and also as Shabad Kirtan (). The term Gurbani Sangeet pre-dates the term Gurmat Sangeet. Other terms include Puratan, which is used in revivalist contexts for traditional Sikh musicology. Whilst the term Gurmat Sangeet has come to be used as a name for all Sikh kirtan performed as per the prescribed ragas found within the Sikh scripture, Inderjit Kaur believes a more fitting term for the raga genre is “rāg-ādhārit shabad kīrtan”. She further believes that the Sikh musicology as a whole should be referred to as “gurmat sangīt shāstar/vigyān”, of which, raga kirtan is a genre found within.
Period of the Sikh gurus#
Musical expression has held a very important place within the Sikh tradition ever since its beginning, with Guru Nanak and his faithful companion, Bhai Mardana. Later, other musical traditions, such as khayal, tappa, and qawwali, began to influence the Sikhs. After the passing of Guru Nanak, his successors would continue to expand Sikh musicology and add new flavours and colours to it. Guru Angad, the second guru and immediate successor of Nanak, regularized the chanting of the Āsā kī Vār (“Ballad of Hope”) composition in the early morning hours as a carol. Angad’s successor, Guru Amar Das, institutionalized the practice of ending kirtan performances with the Ānand (“Bliss”) composition. As for the next guru, Guru Ram Das regulated the performance of the Lāvāṅ verses as kirtan to form the prime component of Sikh wedding ceremonies. According to popular Sikh tradition, Guru Arjan was a player of the sarandā (waisted bowed lute) and is also remembered as the inventor of the upright jọṛī (drum pair), which he had derived from an older instrument known as the mridang. Guru Arjan was also the one who compiled the Adi Granth, the first edition of what would become the Guru Granth Sahib later-on, which was and remains the main source for Sikh religious musical theory and practice. Guru Arjan is further credited with establishing the practice of there being five kirtan chaukīs (sittings) at the Harmandir Sahib shrine in Amritsar. The five sittings of kirtan that were established by him are as follows: # early morning chaukī performance of the Asa ki Var # mid-morning chaukī performance of the Anand # mid-day chaukī performance of the Charan Kanwal # evening chaukī performance of Sodar # nighttime chaukī performance of Kalyan In a case of mythology interacting with history, various instruments’ origin is credited to Sikh gurus. The tāūs (bowed fretted lute) and dilruba are ultimately of Iranic origins, with the taus designed into a unique peacock shape and introduced into Sikh music by Guru Hargobind and the later dilruba invented by Guru Gobind Singh. The saranda is traced back to Guru Amar Das and Guru Arjun. Furthermore, the Sikh gurus actively patronized and encouraged the musical development of professional kirtan performers.
Post-guru period#
The first decline of Sikh musical traditions began following the death of Guru Gobind Singh and execution of Banda Singh Bahadur in the early 18th century. After the death of Banda, the Sikhs had to disperse to places of safe haven during state persecution and thus their established musical institutions could not easily be sustained whilst they were fighting for survival. At many points during the 18th century, no kirtan was being performed at the central Sikh shrine of Harmandir Sahib in Amritsar due to the reigning governments’ genocidal policies enacted against the Sikhs. However, later on the same century, Jassa Singh Ahluwalia, who himself was a renowned kirtankar, restarted many Sikh musical traditions that had been on the brink of extinction. The various Sikh states (especially Patiala, Nabha, and Kapurthala) of the 19th century also did their part on ensuring the smooth passing of Sikh musical tradition throughout the generations by patronizing many Sikh musicians. In the early 19th century, the harmonium began to be used amongst local musicians, eventually including Sikhs, in the Indian subcontinent; however, its adoption would have devastating impacts on native Sikh instruments. The harmonium was easy to learn and play, plus it was easily transported, which led to it becoming popular and eventually replacing many local Sikh instruments. However, the harmonium is unsuited for playing traditional raga music because of its rigidness, fixed-state, and equal-temperament tuning that cannot create the microtonal inflections and ornaments required within raga music. Then around the turn of the 20th century, a group of Sikh scholars, namely Charan Singh, Kahn Singh Nabha, and Vir Singh, promoted traditional Sikh music as part of the religious community’s “identity, culture, and society.” During the partition of Punjab in 1947, one of the three Sikh traditional music institutions, the Rababis, would suffer a deathblow it has not since recovered from, as many former Muslim rababis who had performed at Sikh shrines moved away to Pakistan and future performances by Muslim rababis at Sikh sites was barred by the Sikh clergy due to changing sociocultural norms. The Muslim rababis did not have any Sikh patrons in the newly formed Pakistan, as the local Sikhs also left for India, leaving their traditional art in decline. These reoccurring disturbances also led to the decline of many aspects of Sikh musical tradition. Sikh music performed as per the musical modes, melodies, and forms prescribed as per the Guru Granth Sahib declined greatly. This was accompanied by a decline in the usage of traditional Sikh instruments, especially stringed-instruments (such as the rabab, saranda, and tāūs bowed fretted lute ) which were mostly supplanted by the introduced harmonium by the early-to-mid-20th century. Additionally in the same time period, traditional drum instruments, such as the mridang and jori, also became scarce amongst the Sikhs, having been replaced by the tablā. Changes can also be observed regarding the size of kirtan groups who were performing. Before, it was normal for there to be four performers (chaukī, literally, “four”, consisting of a vocalist, supporting vocalist, stringed melodic instrument player, and drummer) but the standard size of a kirtan group performance was reduced to a trio of three persons. This reduction in a role is due to the decline of stringed instruments, as before there was a dedicated stringed-instrumentalist in a kirtan group. Nowadays kirtan groups consist of the two vocalists playing the harmonium alongside a drummer on the tabla. In recent times, the traditional raga based Sikh musical tradition (including singing the partal with a complex array of taals) has fallen out of favour and been replaced with “semi-classical, light, light, folk or even filmy” styles. However, efforts are being undertaken to revive traditional Sikh raga musical expression. Traditional Sikh instruments have been supplanted by the harmonium, violin, mandolin, and electronic keyboard, and are at risk of extinction.
Revival and documentation of the traditional forms#
The first effort to revive the musical traditions of the Sikhs in their autochenous form, incorporating both the historical instruments, metres, and modes, began in the 1930s–1940s by the Sikh Reht Maryada movement. During the 1970s, the Namdhari leader, Jagjit Singh, tried in his own effort to revive the musical traditions of the Sikhs. Many youth were trained in traditional Gurmat Sangeet at Bhaini Sahib through the Namdhari effort. The next push for the revival of Sikh traditional music was in 1991 during the Adutti Gurmat Sangeet Sammellan at Gurdwara Gur Gian Prakash, or the Jawwadi Taksal, in Ludhiana. The Jawwadi Taksal sought to bring back traditional instruments that the harmonium had supplanted and revive the usage of raga metres and modes. In circa 2007, the SGPC made a similar push to resurrect the traditional Sikh instruments and ragas at its gurdwaras but this was a short-lived attempt and was given up on after three or four lessons due to the difficulty of teaching the musical performers the traditional methods and tools. It has been argued by Amandeep Singh (dilruba player) that the harmonium distracts the congregation whilst the traditional instruments help create a meditative experience. Some scholarly work has been conducted to identify original raga traditions that were invented and performed by the Sikhs. The Punjabi University of Patiala conducted work in 1979 for this purpose, analyzing the musical traditions practiced by the eleventh-generation familial ragi brothers, Gurcharan Singh and Avtar Singh, eventually publishing their study of 500 shabad executions plus the notations by the two brothers under the title Gūrbāni Sangīt: Prāchīn Rīt Ratnāvalī. In 1991, during the traditional Sikh musicology campaign by the Ludhiana Jawaddi Kalan (Sikh school of music), an audio-recording effort of traditional Sikh ragi families’ performances, in-order to document and preserve the Sikh music tradition, was overseen by Sant Succha Singh. A committee was formed for the purpose of identifying the authentic Sikh raga traditions and renditions of various raga types, known as the Rag Nirnayak Committee. The findings of the committee were commended upon by Gurnam Singh in 2000. A later and updated edition of the Gūrbāni Sangīt: Prāchīn Rīt Ratnāvalī provides the views of the late Bhai Avtar Singh Ragi on the subject of autochenous Sikh raga traditions and styles. Greater investigation is needed to look at the issue in further-depth, such as viewing the diverse rag-form and notation material, and also the identification of different rag versions with different taksāls (schools of music). Inderjit Kaur’s research on ghar variants of different ragas links the usage of many of them to the Sikh gurus, which could legitimize their usage in contemporary Sikh musical performances.
Sources#
The Adi Granth compiled by Guru Arjan and completed in 1604 included musical verses from fifteen bhagat saints who belonged to varying religious backgrounds, along with his own works and that of his predecessory gurus.
Guru Granth Sahib#
The central Sikh sacred text, the Guru Granth Sahib, contains 6,000 shabads, with most of them arranged methodically to music and authorship by their title, known as the sirlekh. Within the shabads, there are musical notations contained within them, known as rahāu (chorus) and ank (verse). The text itself provides the structure of the metre and rāg-dhyān shabads provide information on the aesthetics of the music.
Sirlekh#
Sirlekh refers to the shabad titles and important information regarding music is expressed within it. Firstly, the type of rāg, a musical designation within the Indian melodic system, is given. Secondly, various kinds of musical forms, such as pade, chhant, vār, ghōṛīān, and more, may also be expressed within the title. However, the true contents and meanings of these musical forms have mostly been lost to common knowledge and are now unknown. Finally, the final important piece of musical information provided in the title is the ghar (literally, “house”), differentiated by various accompanying numbers, whose meanings have also become lost.
Hymn body#
Musical information is also expressed within the body of the hymns themselves, examples include the verse meter (tāl), chorus and verse marking and sequencing (rahāu), and aesthetic experience (ras).
Rababi tradition#
The musical lineage of Bhai Mardana continued after Mardana’s death and his descendents carried-on with serving the Sikh gurus as musical performers. Some examples of descendents of Bhai Mardana who worked as musicians in the durbar (court) of the Sikh gurus include: * Sajada, whom served Guru Angad at Khadur * Sadu and Badu, both of whom served Guru Amar Das in Goindwal and Guru Ram Das in Chak Ram Das Pura * Balvand and Satta, both of whom served both Guru Ram Das and Guru Arjan * Babak, who served Guru Hargobind * Chatra, who served the later gurus The rababi tradition formed out of the lineage of Muslim musicians and instrumentalists performing kirtan for the Sikh gurus and the Sikh community. These Muslim rababis of kirtan were called Bābe ke by the Sikhs, which meant “those of Baba Nanak”. A later Muslim rababi who performed kirtan at Sikh shrines, including the Harmandir Sahib, was Bhai Sain Ditta, who flourished during the early part of the 19th century. During this era, the Muslim rababi institution received patronage from various Sikh polities, such as Nabha, Patiala, and Kapurthala states. During the early 20th century, Muslim rababis who regularly performed at the Golden Temple were Bhai Chand, Bhai Taba, and Bhai Lal. By the 20th century, many rababis replaced their traditional rabab by swapping it out with the harmonium. A blowback to the rabab instrument’s usage in Sikh circles came in the aftermath of the partition of the Punjab in 1947, due to many Muslim rababi families migrating to their new homes in Pakistan or became pushed to the margins of society due to changing socio-cultural norms. The rabab was gradually replaced by the sarod, another stringed instrument, in Sikh musical circles. There have been attempts at reviving the rababi tradition, as there still remains descendents of traditional rababi families living.
Kirtankar (Ragi) tradition#
Developing alongside the Rababi tradition discussed earlier as a parallel tradition were the kīrtankārs, who were Sikh kirtan singers. The institution was born out of a few amateur or non-professional singers during the period of the Sikh gurus. As time went-on, this amateur trend of Sikh singers eventually developed into the professional tradition now known as rāgīs. Some notable Sikh kirtankars during the period of the Sikh gurus include: * Dipa and Bula, both of whom served Guru Angad * Narain Das, Padha, and Ugrsain, all three of whom served Guru Amar Das * Ramu, Jhaju, and Mukand, all three of whom served Guru Arjan * Banvali and Parsram, both of whom served Guru Hargobind * Gulab Rai, Bhel, Mansud, and Gurbaksh, all four of whom served Guru Tegh Bahadur A renowned ragi or kirtankar during the reign of Maharaja Ranjit Singh’s Sikh Empire was Bhai Mansa Singh, who performed at the Golden Temple. Similar to the rababi tradition, the ragi tradition also received the patronage of Sikh polities, such as by Nabha, Patiala, and Kapurthala. One notable ragi who received the sponsorship of Sikh states was Baba Pushkara Singh. Bhai Sham Singh is renowned for his long service as a ragi at the Golden Temple, serving as a kirtan performer for some 70 years around the later 19th and early 20th century. Notable ragis of the early 20th century include Hira Singh, Santa Singh, Sunder Singh, Sammund Singh, Surjan Singh, and Gopal Singh. Later on in the same century, names of ragis like Bhai Jwala Singh (a tenth generation member of a traditional kirtankar family), his sons Avtar Singh and Gurcharan Singh, are important to note. Furthermore, Balbir Singh and Dyal Singh should also be mentioned.
Dhadi tradition#
The ḍhāḍī tradition dates back to the time of Guru Hargobind. These dhadi performers sang odes of valour, such as heroic ballads (vaars). Two dhadi performers known by name during the period of the sixth guru are Bhai Abdallah, who played the sārangī, and Bhai Nath, who played the ḍhaḍḍ (small handheld drum). The vogue of the Dhadi tradition rose quickly during this period. Dhadis usually perform in groups of three, where heroic ballads are musically performed but “interspersed with chanted narratives.” The overall tone of a dhadi performance tends to be highly charged and is full of emotions. However, the source for the hymns they sing are not sourced from the sanctified works of literature, so the musical performances of dhadis is not classified as “Sikh shabad kirtan” but it still forms a vital and important part of Sikh musicology. A further difference between dhadi performers and other Sikh music traditions is that the dhadis perform whilst standing up, meanwhile the other Sikh musician types perform whilst sitting down.
Forms#
There are various genres, contexts, and musicians of modern Sikh music.
Professional#
Professional Sikh musical performances are usually done within gurdwaras. Within the central room, there is a dedicated space beside the sacred scripture for the rāgī jathā (ragi ensemble) on an elevated stage. The ragis sit on the elevated stage facing the gathered Sikh congregation in the room, who sit directly on the floor at a lower level. Kirtan is performed within the gurdwaras on both regular and celebratory days. For the major and popular gurdwaras, Sunday (Aitavāra) tends to be the day where more kirtan performances are held throughout the day whilst for other days, kirtan performances usually occur in the evening time. Kirtan within gurdwara is usually performed by the ragi jathi, typically consisting of three members in modern-times but four members in historical-times. Aside from being required to perform musically, they also are needed to perform the liturgy services. The ragis are traditionally all male and are given the honorifical prefix of Bhāī (literally, “brother”). In modern-times, there has been a rise of female ragi jathas, whose members are given the honorifical prefix of Bībī (literally, “lady”). Mixed-gender ragi jathas are exceedingly rare. Ragis are not allowed to use caste-based surnames and thus only keep the names ‘Singh’ and ‘Kaur’ as a surname, some may further add the word ‘Khalsa’ to their name. However, it is acceptable for ragis to attach a location-based or employment-based suffix to their name for disambiguation purposes, such as Dilli Vale (“from Delhi”) or Hazuri Ragi Harmandir Sahib (“ragi in service at the Harmandir Sahib gurdwara”). The ragi jatha members tend to wear simplistic clothes, usually white or off-white long shirts and pants. Ragi males tend to wear white, navy, saffron, or black turbans and female ragis wear long scarves (chunnī). Younger ragis have started wearing different colours outside of traditional range. Ragis are paid a regular salary whilst employed at a gurdwara but they can also perform at private events for extra income. Ragi jathas performing at a ticketed venue is taboo. What is now termed “traditional” (but it is not truly historically accurate to apply this appellation to this type as truly traditional kirtan differs substantially from what is described here) ragi jatha kirtan performances in gurdwaras nowadays employ simple melodies which are set to basic varieties of tāl—usually the 8-beat kahirvā but also the 6-beat dādrā. The performance of gurbani kirtan within gurdwaras was simplified to allow for the gathered congregation (sadh sangat) to be able to follow along and sing with the performers, it also allows for the laypersons to internalize the message of the underlying hymn rather than focus too much on the musical expression itself. The singing by vocalists is interspersed by supportive and harmonizing melodies played by the harmonium, with the drummer playing variations utilizing the tabla in “tempo and rhythmic variety”. All these factors are geared towards producing a calm and spiritual setting and experience for the participants. Presentation and performance are the two important factors of the “traditional” ragi kirtan performance type. Lines from certain hymns tend to be repeated to allow for the listeners to join in on the singing. Various genres found within the “traditional” ragi kirtan sub-type are gīt, ghazal, and bhajan. The most renowned and well-received performer of the “traditional” ragi kirtan style is Bhai Harjinder Singh Srinagar Vale. However, the truly traditional ragi kirtan style, as found in earlier times, employed stringed instruments rather than the now commonplace harmonium. It also involved more ragas in its performances. Traditional Sikhs attempting to revive the more historical expressions of their music, such as by playing instruments like the rabab, saranda, and taus, are referred to as the gurmat sangīt genre of kirtan. It is largely based upon the contemporary khyāl style of Hindustani classical music. There are two different kinds of shabad kirtan performances by ragi jathas: # Parmāṇ-style kirtan – characterized by the ragi interspersing verses from related hymns to elaborate on the main, overarching theme. # Viākhiā-style kirtan – characterized by the ragi pausing the singing to elaborate on the hymn being performed and present a short discourse or exposition. There now exists various Sikh educational institutions solely dedicated to teaching Sikh music, that specialize in the training of ragis. However, traditionally the training of ragis occurred at more general Sikh educational institutions (known as a ṭaksāl), which had a section dedicated for the training of Sikh musicians, such as at the Damdami Taksal near Amritsar or Jawaddi Kalan in Ludhiana. Training of Sikh kirtanis usually starts when they are young and aside from their musical training, they are also educated in the Sikh scriptures and correct pronunciation of their contents (known as santhiya). True mastery of kirtan requires a deep understanding and knowledge of Sikh philosophy, history, and culture. According to the late Bhai Avtar Singh, a preeminent ragi of his time, the most important criteria for becoming a good kirtankar was first living a life in-line with the principles set-out in the Guru Granth Sahib, and then an education in its prescribed ragas. During morning hours, the first chaukī (sitting) consists of a performance of the Āsā kī Vār, which is described as being the most explicitly defined and unique of all the kirtan sittings, with the utilization of standardized melodies that date back to the time period of the Sikh gurus. One of the unique aspects of this sitting is that it is the only one where the drummer role within a kirtan group is required to sing certain verses solo. In-between the verses of the Asa ki Vaar, the kirtan group can implement verses from other compositions of their liking. No discourse occurs during this sitting and its time length is usually between two and three hours but it may be longer depending on how many other compositions were included to be interspersed between the hymns of the Asa ki Vaar. Kirtanis aim to be able to perform this specific sitting well as it is a badge of honour to be considered a talented performer of it. It is also said to be the sitting that is most inductive of producing a meditative experience for the participants, due to the combination of the early morning hours (amritvela), uninterrupted performance, and long lengths. In-regards to the other sittings, they tend to be much less structured and varied. The other sittings usually consist of the performance of a few gurbani compositions and the performance draws to a close by singing the six stanzas of the Anand composition. The Āratī composition is performed during evening sittings. Another kind of session is known as Raiṇ sabāī (all night), which occur annually as events with various musicians taking part and ending with an Asa ki Vaar performance in the early morning-time. At the principle Sikh shrine, the Harmandir Sahib, kirtani sittings occur continuously all-day and all-night, from the beginning of dawn to past midnight, and are arranged based upon the time of day and season. During major life events (sanskaras), such as birth (naam karan), death (antam sanskar), marriage (anand karaj), and other ceremonies, kirtan performances are also held. The families celebrating these events can request particular hymns or compositions of their choosing to be sung and played by the kirtani group. With the Anand Karaj specifically, there is a particular arrangement to be followed. First, a group of compositions appropriate to the setting is performed. After, the shabad palai taiḍ ai lāgī (“connected to You”) is performed. Then the four verses of the Lāvān composition are performed. The last hymn performed is the viāh hoā mere bāblā (“the wedding has occurred, O Father”).
Amateur#
Amateur expressions of Sikh music tends to rely upon more participation from the general Sikh laity. Instruments used in this form are often hand-held idiophonic percussion instruments, such as the chhaiṇā, chimṭā, and khaṛtāl. The manner of display of amateur forms of Sikh music often is in-contrast to the professional forms. Amateur performances of Sikh music tends to occur as part of a Nagar Kirtan procession on-foot, which occurs outside of gurdwaras’ central darbar (court) hall, typically happening around the gurdwara complex or the local neighbourhood, where participation by the general Sikh public in singing the hymns as part of the ceremony is highly encouraged. The leader of the Nagar Kirtan procession gives out a call and the accompanying or observing sangat (congregation) reply with a response. Nagar Kirtans are characterized by their usage of handheld percussion instruments and a dhol secured over the shoulder by its player. Melodic instruments are not used during the procession due to their weight and immobility. However, many modern Nagar Kirtans have floats which allow a ragi jatha to be seated upon to play melodic instruments or simply opt to playing a pre-recording of Sikh music for the event. Some displays of amateur Sikh music have qawwālī-like characteristics, with a notable genre sharing features with the aforementioned being the Akhanḍ Kīrtanī style. The Akhand Kirtani style began in the early 20th century and was invented by the famous Randhir Singh of the Akhand Kirtani Jatha. The Akhand Kirtani style is distinguished by there being no pauses (which gives rise to its naming from the word akhanḍ, literally “unbroken”) between hymns and compositions being performed, with the person leading the performance being a shared role that involves taking turns between men or women in the congregation. The goal of the Akhand Kirtani style is to ignite a “ecstatic fervor” amid members of the participating assembly, which is accomplished by sudden or gradual changes in tempo, rhythm, or volume. This style often involves the recitation and performance of group chantings of Naam Japna, where the most-common name of God in Sikhism, Waheguru, is recited over-and-over again with increasing energy. The style is further characterized by a cyclical pattern of increasing intensity. Another tradition of amateur Sikh musical performance is the Istrī satsang, which involves Sikh women and girls convening together in gurdwaras during off-peak hours, often in the afternoon. It is characterized by a call-and-response format alternating between various members of the gathered group. An instrument often played during these group musical performances by women is the ḍholkī (small, double-headed barrel) folk-instrument.
Recordings#
Many Sikh homes have recorded Sikh music playing throughout the day. Its purpose is to create a setting of serenity and spirituality within the home. Sikhs opt to listen to this form of music when commuting. The recording of Sikh music has grown into a large industry in its own right, which influences how people engage with it, including musical performers and their listeners. The manner of Sikh music recorded within the industry has diverged quite far from how Sikh music was traditionally performed. It is characterized by influences and adoptions of prevailing and popular tunes, trends, styles, and intricate instrumental accompaniment not observable in Sikh musical performances at gurdwaras. Accompanying video records of the music records tend to display the typical ragi jatha trio with two harmonium-players and a tabla-player, with the supporting instruments and musicians invisible in the background not-in-view also playing along to produce the recording.
Raag#
A raga or raag (Punjabi: ਰਾਗ رَاگَ (Shahmukhi); Rāg) is a complex structure of musical melody used in Indian classical music and is the central native organizing and classification mechanism and scheme present within the Guru Granth Sahib, where various compositions and sections of the text are privided primarily based upon their accompanying rāg. This is a combination of 31 single raags and 29 mixed (or mishrit; ਮਿਸ਼ਰਤ) raags (a raag composed by combining two or three raags together). Each raga is a chapter or section in the Guru Granth Sahib starting with Asaa raag, and all the hymns produced in Asaa raag are found in this section ordered chronologically by the Guru or other Bhagat that have written hymns in that raga. All raags in the Guru Granth Sahib Ji are named raag. Sikhs ragas were both sourced from ragas used within both Hindu and Islamic music. !Ang (page of appearance in Guru Granth Sahib) !Main, Mixed, or Deccani - 1. Asa/Aasa ਆਸਾ Making effort 8 Main - 2. Gujari/Gujri ਗੂਜਰੀ Satisfaction, softness of heart, sadness 10 Main - 3. Gauri Deepaki 12 Mixed - 4. Dhanasri/Dhanasari ਧਨਾਸਰੀ Inspiration, motivation 13 Main - 5. Gauri Poorabi 13 Mixed - 6. Sri/Siri ਸਿਰੀ/ਸ੍ਰੀ Satisfaction and balance 14 Main - 7. Majh/Maajh ਮਾਝ Loss, beautification 94 Main - 8. Gauri Guarairee 151 Mixed - 9. Gauri ਗਉੜੀ Seriousness 151 Main - 10. Gauri Dakhani 152 Deccani - 11. Gauri Chaitee 154 Mixed - 12. Gauri Bairagan 156 Mixed - 13. Gauri Poorabi Deepaki 157 Mixed - 14. Gauri Majh 172 Mixed - 15. Gauri Malva 214 Mixed - 16. Gauri Mala 214 Mixed - 17. Gauri Sorath 330 Mixed - 18. Asa Kafi 365 Mixed - 19. Asavari 369 Mixed - 20. Asavari Sudhang/Komal Rishabh Asavari 369 Mixed - 21. Devgandhari ਦੇਵਗੰਧਾਰੀ No specific feeling but the Raag has a softness 527 Main - 22. Bihagra/Bihaagra ਬਿਹਾਗੜਾ Beautification 537 Main - 23. Vadhans/Vadahans/Wadhans ਵਡਹੰਸੁ Vairaag, loss (that is why Alahniya is sung in this Raag when someone passes away) 557 Main - 24. Vadhans Dakhani 580 Deccani - 25. Sorath ਸੋਰਠਿ Motivation 595 Main - 26. Jaitsri/Jaitsari ਜੈਤਸਰੀ Softness, satisfaction, sadness 696 Main - 27. Todi ਟੋਡੀ This being a flexible Raag it is apt for communicating many feelings 711 Main - 28. Bairarri/Bhairaagi ਬੈਰਾੜੀ Sadness (the Gurus have, however, used it for the message of Bhakti) 719 Main - 29. Tilang ਤਿਲੰਗ Favoured Raag of Muslims. It denotes feeling of beautification and yearning 721 Main - 30. Tilang Kafi 726 Mixed - 31. Suhee/Soohi/Suhi ਸੂਹੀ Joy and separation 728 Main - 32. Suhee Kafi 751 Mixed - 33. Suhee Lalit 793 Mixed - 34. Bilaval/Bilaaval ਬਿਲਾਵਲ Happiness 795 Main - 35. Bilaval Dakhani 843 Deccani - 36. Gound/Gond/Gaund ਗੋਂਡ Strangeness, surprise, beauty 859 Main - 37. Bilaval Gound 874 Mixed - 38. Ramkali/Raamkali ਰਾਮਕਲੀ Calmness 876 Main - 39. Ramkali Dakhani 907 Deccani - 40. Nut Narayan/Nat Narayan ਨਟ ਨਾਰਾਇਨ Happiness 975 - 41. Nut/Nat ਨਟ 975 - 42. Mali Gaura/Maali Gaura ਮਾਲੀ ਗਉੜਾ Happiness 984 Main - 43. Maru/Maaru ਮਾਰੂ Giving up of cowardice 989 Main - 44. Maru Kafi 1014 Mixed - 45. Maru Dakhani 1033 Deccani - 46. Tukhari ਤੁਖਾਰੀ Beautification 1107 Main - 47. Kedara ਕੇਦਾਰਾ Love and beautification 1118 Main - 48. Bhairo/Bhairao/Bhairon ਭੇਰੳ Seriousness, brings stability of mind 1125 Main - 49. Basant ਬਸੰਤੁ Happiness 1168 Main - 50. Basant Hindol 1170 Mixed - 51. Sarang ਸਾਰੰਗ Sadness 1197 Main - 52. Malar/Malaar/Mallar/Malhar ਮਲਾਰ Separation 1254 Main - 53. Kanra/Kaanrha ਕਾਨੜਾ Bhakti and seriousness 1294 Main - 54. Kaliyan/Kaliaan/Kalyan ਕਲਿਆਨ Bhakti Ras (meaning ‘devotional spirit/essence’) 1319 Main - 55. Kaliyan Bhopali 1321 Mixed - 56. Parbhati Bibhas 1327 Mixed - 57. Parbhati/Prabhati ਪ੍ਰਭਾਤੀ Bhakti and seriousness 1327 Main - 58. Parbhati Dakhani 1344 Deccani - 59. Bibhas Parbhati 1347 Mixed - 60. Jaijavanti/Jaijaiwanti ਜੈਜਾਵੰਤੀ Viraag or loss 1352 Main Raags are used in Sikh music simply to create a mood, and are not restricted to particular times. A mood can be created by the music of the raag regardless of the time of day. There are a total of 60 raags or melodies within the Guru Granth Sahib. Each melody sets a particular mood for the hymn, adding a deeper dimension to it. The Guru Granth Sahib is thought by many to have just 31 raags or melodies which is correct of single raags. However, combined with mishrit raags, that total is 60. In recent-times, raag standardization has occurred, which has led to a decline in Sikh musicological expression.
Ghar#
Many of the raga and musical form sections found within the Guru Granth Sahib have been allotted corresponding ghars as a numeric designation, with most having up to seven ghar forms assigned to them.