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This is an | (Nat Naaraayan) This is an Indian musical [[raga]] (composition) that appears in the [[Sikh]] tradition from northern [[India]] and is part of the Sikh holy scripture called [[Sri Guru Granth Sahib]] or [[SGGS]] for short. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. | ||
In the [[SGGS]], the Sikh holy Granth (book) there are a total of 31 raga compositions and this raga is the ninteenth raga to appear in the series. The composition in this raga | In the [[SGGS]], the Sikh holy Granth (book), there are a total of 31 raga compositions and this raga is the ninteenth raga to appear in the series. The composition in this raga appears on a total of 9 pages from page numbers 975 to 984. | ||
In the [[Ragmala]], Nat is given as putra (son) of Megha while today Nat Naraayan appears under the Bilaval thata and is assigned to the evening hours. This raga was used by [[Guru Ram Das]] and [[Guru Arjan]]. | In the [[Ragmala]], Nat is given as putra (son) of Megha while today, Nat Naraayan appears under the Bilaval thata and is assigned to the evening hours. This raga was used by [[Guru Ram Das]] and [[Guru Arjan]]. Nat Naaraayan morning 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. | ||
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Revision as of 18:53, 28 August 2018
(Nat Naaraayan) This is an Indian musical raga (composition) that appears in the Sikh tradition from northern India and is part of the Sikh holy scripture called Sri Guru Granth Sahib or SGGS for short. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune.
In the SGGS, the Sikh holy Granth (book), there are a total of 31 raga compositions and this raga is the ninteenth raga to appear in the series. The composition in this raga appears on a total of 9 pages from page numbers 975 to 984.
In the Ragmala, Nat is given as putra (son) of Megha while today, Nat Naraayan appears under the Bilaval thata and is assigned to the evening hours. This raga was used by Guru Ram Das and Guru Arjan. Nat Naaraayan morning 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.
Section | Punjabi | English |
Aroh: | ਸ ਮ ਗ ਮ ਰ ਮ’ ਪ ਧ ਨ ਸ | Sa Ma Ga Ma Re Ma' Pa Dha Ni Sa |
Avroh: | ਸ ਧ ਪ ਮ’ ਧ ਪ ਗ ਮ ਸ | Sa Dha Pa Ma' Dha Pa Ga Ma Sa |
Vadi: | ਸ | Sa |
Samvadi: | ਰ | Re |
Gurbani Keertan in Raag Nat Narayan
See also
External links
- Gurmat Gian Group
- Gurmat Sangeet Project
- Gurmat Sangeet
- Gurmat Sangeet Darbar
- Raj Academy of Asian Music
- Sikhnet: Shabad for Printing
Kirtan: | Raga · Taal · Ragmala · Classical Music · Sangeet · Dhuni · Divan · Asa di Var · Jatha · Simran · Shabad · Tuk · Rababi · Dhadhi |
Ragas: | Asa · Bairari · Basant · Bhairon · Bihagara · Bilaval · Devagandhari · Dhanasari · Gauri · Gond · Gujari · Jaijavanti · Jaitsri · Kalian · Kanara · Kedara · Maajh · Malaar · Mali Gaura · Maru · Nat Narain · Prabhati · Ramkali · Sarang · Sri · Sorath · Suhi · Tilang · Todi · Tukhari · Vadahans |
Ragis: | Harjinder Singh · Maninder Singh · Amolak Singh · Darshan Singh · Balwinder Singh · Harbans Singh · Anoop Singh · Niranjan Singh · Amrik Singh · Avtar Singh · Snatam Kaur ·Kamaljit Kaur · Dileep Kaur · Joginder Singh · SS Maskeen |
Saaj: | Harmonium · Tabla · · Tanpura · Taus · Rabab · Sarangi · Dilruba · · Saranda · Sarode · Sitar · Santoor · Pakhawaj · Dhadh · Dholak · Dool |