Difference between revisions of "Gond"

From SikhiWiki
Jump to navigationJump to search
 
(One intermediate revision by the same user not shown)
Line 1: Line 1:
 
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]] 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.  
 
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]] 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 '''seventeenth''' raga to appear in the series. The composition in this raga appears on a total of '''17 pages''' from page numbers ''' 859 to 876 '''.
 
  
The [[Ragmala]] records Gond as the raagini of Megh Raga. The possibility exists that Gond is a regional raga derived from that group of ragas with similar names and is characterized by phrases from other ragas e.g. Bilaval, Kanara and Malar. Such names as Gaunda, Gand, Gounda, Gaundi, Goundgiri, and Gunda appear in the classifications from the 11th to the 17th centuries. For those still known today, the (Gaudi, Goundgiri, and Goud) performance rules are obscure. Performance time is late afternoon or early evening and the mood is contemplative and dignified. Gond was used by [[Guru Ram Das]] Ji, [[Guru Arjan]] Dev Ji,  Bhagat Kabir Ji, Bhagat Ravidaas Ji, and Bhagat Naamdev Ji. The texts asks an individual to depend solely on the Lord for all benefits since it is He who has given the individual all the blessings.  
+
In the [[SGGS]], the Sikh holy Granth (book), there are a total of 60 raga compositions and this raga is the '''thirty sixth''' raga to appear in the series. The composition in this raga appears from page numbers ''' 859 to 874 '''.
 +
 
 +
Raag Gond (ਗੋਂਡ) – Gond is an expression of triumph, however these feelings are balanced and in perspective ensuring that there is also an aspect of humility. Therefore, although there is a sense of knowing and understanding the achievement, there is not a feeling of becoming obsessed or getting lost in the achievement itself.  
 +
 
 +
Gond was used by [[Guru Ram Das]] Ji, [[Guru Arjan]] Dev Ji,  Bhagat Kabir Ji, Bhagat Ravidaas Ji, and Bhagat Naamdev Ji.  
  
 
The following represents the order of notes that can be used on the ascending and descending phase of the composition and the primary and secondary notes:
 
The following represents the order of notes that can be used on the ascending and descending phase of the composition and the primary and secondary notes:

Latest revision as of 03:29, 5 October 2019

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 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 thirty sixth raga to appear in the series. The composition in this raga appears from page numbers 859 to 874 .

Raag Gond (ਗੋਂਡ) – Gond is an expression of triumph, however these feelings are balanced and in perspective ensuring that there is also an aspect of humility. Therefore, although there is a sense of knowing and understanding the achievement, there is not a feeling of becoming obsessed or getting lost in the achievement itself.

Gond was used by Guru Ram Das Ji, Guru Arjan Dev Ji, Bhagat Kabir Ji, Bhagat Ravidaas Ji, and Bhagat Naamdev Ji.

The following represents the order of notes that can be used on the ascending and descending phase of the composition and the primary and secondary notes:

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

Gurbani Keertan in Raag Gaund

See also

External links