Raag Gujri |
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Raag Gujri is the 5th Raag to appear in the raag wise collection of Shabads in Sri Guru Granth Sahib Ji. It is an ancient raag and is referred as Raag Gujri Todi in Hindustani Classical Music. In Sri Guru Granth Sahib hymns composed in this raag are on pages 489-526 (37pages). It is considered as a day time raag. |
| In this raag Pancham is varjit and Rishab, Gandhar and Dhaivat are komal surs. Madhyam is teevra. Jatti: Sharav Sharav. Thaat: Todi |
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| Illustration of Raag Gujri: |
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truly anahad nad would like to know if there are books on learning gurbani raagas and could you recommend me a good book to learn about sikh ragas and gurbani keertan thanks for the wonderful music
Jaideep ji, thanks for being here and for liking Gurbani singing. There is a book ‘Sur Simran Sangeet’ by Sant Sarwan Singh Gandharv it is in 7 vol. It has lot of information on both Gurmat samgeet raags as well as those of Hindustani Classical Music.
thank you so much maam but i just wanted to know if a student can learn to sing these ragas and gurbani sangeet from the book that you have mentioned “sur simran sangeet”
satnam
It all depends, if your basics are strong. In music, books are helpful if one is already familiar with the language of music. Vocal music is a very practical oriented subject. Sur rayaz is pillar on which one has to develop one’s singing. If you are new to music get hold of some teacher. Teacher can just guide you, but you have to put in hours of riyaz. Good Luck.
thank you so much maam for your guidance and your music which is sooo sooo inspiring………….
maam when a raag is sung is it the pakad or arov or avroh or all three? what is sung during alaap and what is sur vistaar? and while singing a shabad in a raag what is kept in mind? satnam
Jaideep, Aroh & Avroh define the raag and by pakar we recognize the raag. When we sing a raag all the three come into focus. During Alaap, mostly aroh & avroh which show the surs used in the raag are sung in the alaap. Sur vistar is another form of alaap which uses mostly the vadi & samvadi and niyas swars used in the raag.
maam while putting a shabad to a rag that is to decide a tune for the shabad in a rag what all is kept in mind? for example if aroh of a rag is s g m p n s” and avroh is s” n dh p m g r s can r be used in sthai after s that is while ascending can r be used as r does not figure in aroh or only while descending can it be used ? and what role does pakad and vadi play in deciding a tune for a shabad in a particular rag? thanking you,
your student jaideep
As per this aroh, you can not use ‘r’ on ascending in your tune, can use it on descending.
Vadi sur is the king of the raag and this sur has to be given more stress while composing. the tune. Pakar is the ‘pehchan’ or image of the raag. It has to be used while composing.
Good Luck.