Raag Gauri

3. Gurbaani Raag Gauri

Gauri is one of several Gauri ragas and appears in the Ragmala as a ragini of Siri Raga. This is an evening raga assigned to autumn and its mood is contemplative. The composition in Gauri is very voluminous. Gauri was used by Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadur. Several forms of Gauri exist historically and this probably accounts for the large number of variants: Gauri Cheti, Gauri Bairagan, Gauri Dipaki, Gauri PurbiDipaki, Gauri Guareri, Gauri-Majh, Gauri Malava, Gauri Mala, Gauri Sorath, Gauri Dakhani.

Aroh Sa Re Ga Re Ma Pa Ni Sa

Avroh Sa Ni Dha Nfa Pa, Dha Pa IIa Ga, Ga _Re Sa Ni Sa

Vadi _Re

Samvadi Pa

Occasionally Re is performed with a vibrate as in Siri Raga which has the same vadis. Ni is given prominence through either stopping or lingering on this note.

Introduction

The literal meaning of Gauri is 'style' i.e., the style and mode to remember God and sing his glories. According to the Indian school of Music Gauri is a ragini (female raga). Its roots are in the eastern thaht, and it is a consort of raga Sri. In Guru Granth Sahib maximum compositions are composed in this raga. There are 22 forms of Gauri tunes according to the Indian School of Music, whereas in Guru Granth Sahib there is a mention of 12 of such forms, they are :

1. Gauri (refer page 151)
2. Gauri Gurareree (refer page 151)
3. Gauri Dakhni (refer page 152)
4. Gauri Cheti (refer page 154)
5. Gauri Bairagan (refer page 156)
6. Gauri Deepki (refer page 156)
7. Gauri Purbi Deepki ( refer page 167)
8. Gauri Purbi (refer page 168)
9. Gauri Maj (refer page 172)
10. Gauri Malwa (refer page 214)
11. Gauri Mala (refer page 214)
12. Gauri Sorath (refer page 330)

The above forms of Gauris were developed by mixing pure Gauri with other regional tunes, notes and tals. The thaht of Pure Gauri is Bhairo. The notes are: Arohi (ascending scale) - sa re ma pa ni sa (omitted notes are ga dha) Avrohi - sa ni da pa ma re sa (omitted note is ga)

The most popular note is 're' soft (komal) and the second popular note is 'pa'.

The recommended time of its singing is the third part of the day, 12 noon - 3 p.m., and the season of its recitation is winter (shisher), December -January. In certain forms of Gauris the time of its singing is different from the pure Gauri, e.g., the popular time of singing Gauri Mala is the first quarter of night rather than third part of the day.

In Guru Granth Sahib this is the third raga, whereas in the Ragamal it is listed in the last lines as Gavri, rather than Gauri, and is classified as a wife of Sri raga.

In Guru Granth Sahib the hymns recorded in this raga are on pages 151 -347 (197 pages).

The Composers

The composers of bani (hymns) in this raga are :

Gurus

Guru Nanak Dev
Guru Amardas
Guru Ramdas
Guru Arjan Dev
Guru Tegh Bahadur

Bhagats

Kabir
Namdev
Ravidas





				SHARE

				3. Gurbaani Raag Gauri Gauri is one of several Gauri ragas and appears in the Ragmala as a ragini of Siri Raga. This is an evening raga assigned to autumn and its mood is contemplative. The composition in Gauri is very voluminous. Gauri was used by Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadur. Several forms of Gauri exist historically and this probably accounts for the large number of variants: Gauri Cheti, Gauri Bairagan, Gauri Dipaki, Gauri PurbiDipaki, Gauri Guareri, Gauri-Majh, Gauri Malava, Gauri Mala, Gauri Sorath, Gauri Dakhani. Aroh Sa Re Ga Re Ma Pa Ni Sa Avroh Sa Ni Dha Nfa Pa, Dha Pa IIa Ga, Ga _Re Sa Ni Sa Vadi _Re Samvadi Pa Occasionally Re is performed with a vibrate as in Siri Raga which has the same vadis. Ni is given prominence through either stopping or lingering on this note. Introduction The literal meaning of Gauri is 'style' i.e., the style and mode to remember God and sing his glories. According to the Indian school of Music Gauri is a ragini (female raga). Its roots are in the eastern thaht, and it is a consort of raga Sri. In Guru Granth Sahib maximum compositions are composed in this raga. There are 22 forms of Gauri tunes according to the Indian School of Music, whereas in Guru Granth Sahib there is a mention of 12 of such forms, they are : 1. Gauri (refer page 151) 2. Gauri Gurareree (refer page 151) 3. Gauri Dakhni (refer page 152) 4. Gauri Cheti (refer page 154) 5. Gauri Bairagan (refer page 156) 6. Gauri Deepki (refer page 156) 7. Gauri Purbi Deepki ( refer page 167) 8. Gauri Purbi (refer page 168) 9. Gauri Maj (refer page 172) 10. Gauri Malwa (refer page 214) 11. Gauri Mala (refer page 214) 12. Gauri Sorath (refer page 330) The above forms of Gauris were developed by mixing pure Gauri with other regional tunes, notes and tals. The thaht of Pure Gauri is Bhairo. The notes are: Arohi (ascending scale) - sa re ma pa ni sa (omitted notes are ga dha) Avrohi - sa ni da pa ma re sa (omitted note is ga) The most popular note is 're' soft (komal) and the second popular note is 'pa'. The recommended time of its singing is the third part of the day, 12 noon - 3 p.m., and the season of its recitation is winter (shisher), December -January. In certain forms of Gauris the time of its singing is different from the pure Gauri, e.g., the popular time of singing Gauri Mala is the first quarter of night rather than third part of the day. In Guru Granth Sahib this is the third raga, whereas in the Ragamal it is listed in the last lines as Gavri, rather than Gauri, and is classified as a wife of Sri raga. In Guru Granth Sahib the hymns recorded in this raga are on pages 151 -347 (197 pages). The Composers The composers of bani (hymns) in this raga are : Gurus Guru Nanak Dev Guru Amardas Guru Ramdas Guru Arjan Dev Guru Tegh Bahadur Bhagats Kabir Namdev Ravidas

		SHARE