Difference between revisions of "Bhairon"

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'''Bhairon''' is an Indian 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 Indian 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]] Ji 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
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In the [[SGGS]], the Sikh holy Granth (book), there are a total of 60 raga compositions and this raga is the '''Forty-eighth''' raga to appear in the series. The composition in this raga appears on a total of '''43 pages''' from page numbers '''1125 to 1168'''.
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 "fulfillment 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.
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Raag Bhairao (ਭੇਰੳ) – Bhairao embodies the soul’s faith and heartfelt devotion towards The Creator. It is a kind of fanaticism, where there is a feeling of not being aware or caring about anything else. The emotions conveyed are those of contentment and of being absorbed in a steadfast belief or faith. In this Raag, the soul is relaying the happiness that the mind could potentially experience if it joined in with this devotion
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Performed before sunrise, this raga was used by [[Guru Nanak]] Dev Ji, [[Guru Amar Das]] Ji, [[Guru Ram Das]] Ji, and [[Guru Arjan]] Dev Ji.  
  
 
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Latest revision as of 10:01, 8 February 2019

Bhairon is an Indian 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 Ji 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 60 raga compositions and this raga is the Forty-eighth raga to appear in the series. The composition in this raga appears on a total of 43 pages from page numbers 1125 to 1168.

Raag Bhairao (ਭੇਰੳ) – Bhairao embodies the soul’s faith and heartfelt devotion towards The Creator. It is a kind of fanaticism, where there is a feeling of not being aware or caring about anything else. The emotions conveyed are those of contentment and of being absorbed in a steadfast belief or faith. In this Raag, the soul is relaying the happiness that the mind could potentially experience if it joined in with this devotion

Performed before sunrise, this raga was used by Guru Nanak Dev Ji, Guru Amar Das Ji, Guru Ram Das Ji, and Guru Arjan Dev Ji.

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 the upper limit. Otherwise, Bhairon has few characteristic phrases.

Gurbani Keertan in Raag Bhairon

See also

External links