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'''Gauri''' {{lang-pa|ਰਾਗੁ ਗਉੜੀ}}  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.
'''Gauri''' {{lang-pa|ਰਾਗੁ ਗਉੜੀ}}  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 third raga to appear in the series. The composition in this raga appears on a total of 196 pages from page numbers 151 to 347.
In the Guru Granth Sahib, the Sikh holy Granth (book) there are a total of 60 raga compositions and this raga is the ninth raga to appear in the series. The composition in this raga first appear on page no. 151.  


'''Gauri''' is one of several ragas that appears in the [[Ragmala]] as a ragini (subset) of [[Sri|Sri Raga]]. This is an evening raga assigned to autumn and its mood is contemplative. The composition in Gauri is very voluminous. Gauri was used by [[Guru Nanak]] Dev Ji, [Guru Amar Das]] Ji, [[Guru Ram Das]] Ji, [[Guru Arjan]] Dev Ji, and [[Guru Tegh Bahadur]] Ji. Several forms of Gauri Raga exist historically and this probably accounts for the large number of variants: Gauri Cheti, Gauri Bairagan, Gauri Dipaki, Gauri Purbi, Gauri Guareri, Gauri-Majh, Gauri Malava, Gauri Mala, Gauri Sorath, and Gauri Dakhani.
Raag Gauri (ਗਉੜੀ) – Gauri creates a mood where the listener is encouraged to strive harder in order to achieve an objective. However, the encouragement given by the Raag does not allow the ego to increase. This therefore creates the atmosphere where the listener is encouraged, but still prevented from becoming arrogant and self-important.  
 
Gauri was used by Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadur. Several forms of Gauri Raga exist historically and this probably accounts for the large number of variants: Gauri Cheti, Gauri Bairagan, Gauri Dipaki, Gauri Purbi-Dipaki, Gauri Guareri, Gauri-Majh, Gauri Malava, Gauri Mala, Gauri Sorath, Gauri Dakhani.  


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Occasionally, 'Re' is performed with a vibration, as in [[Siri Raga]] that has the same vadis. Ni is emphasized through either stopping or lingering on this note.
Occasionally, 'Re' is performed with a vibration as in [[Siri Raga]] that has the same vadis. Ni is emphasized through either stopping or lingering.


'''[http://gurmatgiangroup.com/2011/05/31/thir-ghar-baeso-har-jan-pyarae-raag-gauri/ Gurbani Keertan in Raag Gauri]'''
'''[http://gurmatgiangroup.com/2011/05/31/thir-ghar-baeso-har-jan-pyarae-raag-gauri/ Gurbani Keertan in Raag Gauri]'''

Latest revision as of 04:12, 14 February 2019

Gauri Punjabi: ਰਾਗੁ ਗਉੜੀ 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 Guru Granth Sahib, the Sikh holy Granth (book) there are a total of 60 raga compositions and this raga is the ninth raga to appear in the series. The composition in this raga first appear on page no. 151.

Raag Gauri (ਗਉੜੀ) – Gauri creates a mood where the listener is encouraged to strive harder in order to achieve an objective. However, the encouragement given by the Raag does not allow the ego to increase. This therefore creates the atmosphere where the listener is encouraged, but still prevented from becoming arrogant and self-important.

Gauri was used by Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadur. Several forms of Gauri Raga exist historically and this probably accounts for the large number of variants: Gauri Cheti, Gauri Bairagan, Gauri Dipaki, Gauri Purbi-Dipaki, Gauri Guareri, Gauri-Majh, Gauri Malava, Gauri Mala, Gauri Sorath, Gauri Dakhani.

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

Occasionally, 'Re' is performed with a vibration as in Siri Raga that has the same vadis. Ni is emphasized through either stopping or lingering.

Gurbani Keertan in Raag Gauri

Gauri Sagar ~ Compilation of All forms of Raag Gauri in SGGS Ji

Other forms of Raag Gauri: Raag Gauri Deepki; Raag Gauri Dakhnee; Raag Gauri Bairagan; Gauri Chaetee; Raag Gauri Mala; Raag Gauri Bhi Sorath Bhi; Raag Gauri Malwa; Raag Gauri Poorbi; Gauri Poorbi Deepki; Gauri Guaraeree

See also

External links