Difference between revisions of "Bhairon"

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'''Bhairon''' is an India musical [[raga]] (composition) that appears in the [[Sikh]] tradition from northern [[India]] and is part of the Sikh holy scripture the [[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.  
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'''Bhairon''' is an India musical [[raga]] (composition) that appears in the [[Sikh]] tradition from northern [[India]] and is part of the Sikh holy scripture, the [[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 '''twenty-fourth''' raga to appear in the series. The composition in this raga appear on a total of '''43 pages''' from page numbers '''1125 to 1168'''.
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In the [[SGGS]], the Sikh holy Granth (book), there are a total of 31 raga compositions and this raga is the '''twenty-fourth''' raga to appear in the series. The compositions in this raga appear on a total of '''43 pages''' from page numbers '''1125 to 1168'''.
  
 
Bhairon was an important raga at the time of [[Guru Nanak]] and has continued to
 
Bhairon was an important raga at the time of [[Guru Nanak]] and has continued to
retain its significance and popularity.  Bhairon (not to be confused with Bhairavi) appears in the [[Ragmala]] as husband/wife of Bhairavi and four other raginis.  Today it is the head raga for one of the ten thatas.  The "Raga Sagara", a journal of circa 8th century, describes this raga as awe-inspiring and as expressing the "fulfilment of the desire to worship."  Mesakarna (1509) calls this morning melody of the autumn season one of awesome grandeur.  
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retain its significance and popularity.  Bhairon (not to be confused with Bhairavi) appears in the [[Ragmala]] as the husband/wife of Bhairavi and four other raginis.  Today, it is the head raga for one of the ten thatas.  The "Raga Sagara", a journal of circa 8th century, describes this raga as awe-inspiring and as expressing the "fulfilment of the desire to worship."  Mesakarna (1509) calls this morning melody of the autumn season, one of awesome grandeur.  
  
 
Performed before sunrise, this raga was used by [[Guru Nanak]], [[Guru Amar Das]], [[Guru Ram Das]], and [[Guru Arjan]] for 99 hymns.
 
Performed before sunrise, this raga was used by [[Guru Nanak]], [[Guru Amar Das]], [[Guru Ram Das]], and [[Guru Arjan]] for 99 hymns.

Revision as of 03:01, 17 August 2018

Bhairon is an India musical raga (composition) that appears in the Sikh tradition from northern India and is part of the Sikh holy scripture, the 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 twenty-fourth raga to appear in the series. The compositions in this raga appear on a total of 43 pages from page numbers 1125 to 1168.

Bhairon was an important raga at the time of Guru Nanak and has continued to retain its significance and popularity. Bhairon (not to be confused with Bhairavi) appears in the Ragmala as the husband/wife of Bhairavi and four other raginis. Today, it is the head raga for one of the ten thatas. The "Raga Sagara", a journal of circa 8th century, describes this raga as awe-inspiring and as expressing the "fulfilment of the desire to worship." Mesakarna (1509) calls this morning melody of the autumn season, one of awesome grandeur.

Performed before sunrise, this raga was used by Guru Nanak, Guru Amar Das, Guru Ram Das, and Guru Arjan for 99 hymns.

Section Punjabi English
Aroh: ਸ ਰ੝ ਗ ਮ ਪ ਧ੝ ਨ ਸ Sa Re Ga Ma Pa Dha Ni Sa
Avroh: ਸ ਨ ਧ੝ ਪ ਮ ਗ ਰ੝ ਸ Sa Ni Dha Pa Ma Ga Re Sa
Vadi: ਧ੝ Dha
Samvadi: ਰ੝ Re

The vadis are performed with a slow, wide vibrato which may begin with the vadi itself or the highest limit to which it will extend. In descent the vibrato must begin with upper limit. Otherwise Bhairon has few characteristic phrases.

Gurbani Keertan in Raag Bhairon

See also

External links