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The name "Gujari" probably refers to the state of
Gujarat. This ragawas in existence at the time of Raja Man Singh of Gwahor
(1486-1517) who lived at a time of high musical achievement and referred to
this raga in his writings about music. Gujari is rarely used as a concert
raga today and little is known about its form. In modern times it has been
supplanted by Gujari-Todi. In the Ragmaala, Gujari is listed as a ragini of
Raga Dipak. Today Gujari-Todi belongs to the Todi thala. GujariTodi 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 raga 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 ragas, Gujari was the setting for compositions by Guru
Nanak, Amar Das, Guru Ram Das, and Guru Arjan.
Aroh : Sa Re _Ga M'a Dha Ni Sa
Avroh: Sa Ni Dha M'a Ga Re, Ga Re Sa
Pakar : Sa Dha, Ma, Dha Ni Sa, Ni Dha M'a Ga, Re, Ga Re
Sa
Savar : Re Ga Dha M'a
Vadi :Dha
Samvadi : Re
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Introduction
Raga Gujri is an old raga and is popular to sing devotional hymns. It is a very melodious raga.
It
has been given varied status by different schools of music. Some schools call it a consort of raga
Bhairo while others call it a consort of raga Megh, still others call it a consort of raga Deepak
and many call it a consort of raga Sri. According to Guru Granth Sahib's ragamala it is a consort
of
raga Deepak. In the Sikh encyclopaedia of Bhai Kahn Singh it has been linked with raga Todi. The
Pastik School of Music has given 9 forms of this raga:
- Maharashtra Gujri
- Dakhni Gujri
- Dravri Gujri
- North Gujri
- Saurashtra Gujri
- Mangal Gujri
- Ramkali Gujri
- Bahula Gujri
- Siam Gujri
The notes of this raga are:
Arohi (ascending scale) - sa re ga ma dha ni sa (omitted note is -pa)
Avrohi (descending scale) - sa ni dha ma ga re sa
The vadi (most popular) note is 'dha' and samvadi (second most popular) note is 'ra'
This raga is recommended to be sung at the fourth part of the day i.e., from 3pm - 6 p.m.. The
season
of its recitation is rainy (varsha) i.e., during July - August. In the Sikh tradition this raga is
also sung in the second part of the day.
In Guru Granth Sahib hymns composed in this raga are on pages 489-526
(37pages).
The Composers:
The composers of bani (hymns) in this raga are:
Gurus:
- Guru Nanak Dev
- Guru Amardas
- Guru Ramdas
- Guru Arjan Dev
Bhagats:
- Kabir
- Namdev
- Ravidas
- Trilochan
- Jaidev
The Structure:
The sequence of the structure of compositions in this raga are:
Gurubani:
- Shabads 2-5padas
- Shabads - Ashtpadi
- Var
Bhagat bani
1. Shabads of 3-5 padas
Matrix
VISUAL ANALYSIS
Count of the use of Mangals:
Complete Mool Mantar = 1, pages 489 (start of the raga)
Ik-ongkar Satgur Prasadh = 23
Placement and count of the rahau verses:
All shabads, including Bhagat Bard, and ashtpadis have rahau verses in them
placed after the first padas.
Analysis of diversified headings and subheadings used in this
raga:
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Page number
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Heading/Subheading
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489
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Raga Gujri Mehla 1 chaupadas Ghar 1
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494
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Gujri Mehla 4 Ghar 3
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501
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Gujri Mehla 5 Ghar 4 chaupadas
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503
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Gujri Ashtpadis Mehla 1 Ghar 1
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524
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Raga Gujri Bhagat ki Bani
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525
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Gujri Namdev ji ke pada Ghar 1
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525
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Gujri Sri Trilochan jeo ke pada Ghar 1
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Composers Structure of Bani
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Padas
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I
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Ashtpadis
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Specialist
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Chts
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Specialist
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Var
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Sloaks*
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_
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2
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3
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4
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5
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6
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8 (padas)
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untiled
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Titled
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Nanak
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2
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5
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Angad
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AmarDas
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5
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2
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1 (10
padas)
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1 (22
pauris)
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44
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RamDas
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6
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1
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Arjan Dev
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18
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1
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11
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2
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2
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1(21
pauris)
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42
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Bhagats
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Kabir
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2
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Namdev
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1
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1
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RaviDas
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1
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Trilochan
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1
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1
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Jaidev
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1
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There is no specialist bani and chhants in this raga.
sloaks are included in the vars. The sloaks included in the vars are of the same author • i the
var. Comment 'Shud' is recorded at the end of both vars.
- *pds = padas
- *cht = chhants
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Excerpts taken from:
Guru Granth Sahib: An Advance Study
Dr Sukhbir Singh Kapoor
Vice Chancellor World Sikh University, London
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