Rag Sirirag
Out of the thirty-one principal rags in the Guru Granth Sahib, Sirirag or Srirag


Sirirag is an old, melodious, and complex rag. Regarding this rag, Guru Amardas Sahib has said that Sirirag is the most prominent among all the rags. But the singing of this rag is successful only when the being develops a love for the eternal IkOankar:
rāgā vici srīrāgu hai je saci dhare piāru. -Guru Granth Sahib 83.
Bhai Gurdas Ji also considers this rag as the supreme rag:
panchīan mai hans mrig rājan mai sārdūl rāgan me sirīrāgu pāras pakhān hai. -Bhai Gurdas, Kabit 376/3.
Apart from the Gurmat tradition, various schools of thought that follow the rag-ragini tradition have also considered Sirirag a significant rag. From a popular mythological perspective, Pandit Oankar Nath Thakur writes, “This is the sixth rag and is named as ‘Siri’ as it is believed to have originated from the ‘supreme/glorious’ (sri) mouth of Parvati; the other five rags having originated from the five mouths of Shankar (Shiva).” It is difficult to validate what is true in this mythological perspective, but it can surely be said that it is an old rag.

Prof. Tara Singh’s

In the Medieval Period, komal (flat) Ga and Ni were used in the octaves of natural notes, which is similar to today’s Kaphi that. Earlier, Sirirag was also sung on the notes of Kaphi that. Even today, the same form of the rag from Kaphi that in the North Indian style is prevalent in the Southern music system, which they called ‘Kharhar Pria.’

Proponents of the modern that system have classified Sirirag under Purvi that. From a musical perspective, in this rag, Re, Dha are flat, Ma is tivar (sharp) and other notes are shudh (natural). In its aroh (ascending scale), there is a practice of forbidding the notes Ga and Dha. In its avroh (descending scale), seven notes are used in the vakar rit (arc style). Consequently, its jati (class) is aurav-vakar sampuran. Its vadi (prominent note) is Re and samvadi (sub-prominent note) is Pa. Some scholars consider its vadi (prominent note) to be Re and samvadi (sub-prominent note) to be Dha.

Bhai Vir Singh






Description of Sirirag
That: Purvi.
Svar (notes): Re, Dha are (komal - flat), Ma (tivar - sharp), rest all notes are shudh (natural).
Varjit Svar (forbidden notes): Ga and Dha in aroh (ascending scale).
Jati (class): aurav-sampuran.
Vadi (prominent note): Re.
Samvadi (sub-prominent note): Pa.
Aroh (ascending scale): Sa Re (komal - flat), Ma (tivar - sharp) Pa, Ni Sa (tar saptak - upper octave).
Avroh (descending scale): Sa (tar saptak - upper octave) Ni Dha (komal - flat) Pa, Ma (tivar - sharp), Ga, Re (komal - flat), Sa.
Mukh Ang/Pakar (main part): Sa, Re (komal - flat), Re (komal - flat), Pa, Pa Ma (tivar - sharp) Ga Re (komal - flat), Re (komal - flat) Sa.
Singing Time
The dusk time.
Sabad 2
Rag Ramkali
Out of the thirty-one principal rags in the Guru Granth Sahib, Rag Ramkali (a musical mode) has been designated eighteenth place in the sequence. Under this rag, the Bani of six Gurus, four Bhagats, and three Gursikhs (a Sikh who follows the Guru’s way) is recorded from page 876 to 974 of the Guru Granth Sahib. It includes one hundred sixty-six Sabads by Guru Nanak Sahib, seven by Guru Angad Sahib, ninety-one by Guru Amardas Sahib, six by Guru Ramdas Sahib, one hundred sixty-eight by Guru Arjan Sahib, three by Guru Teghbahadar Sahib, twelve by Bhagat Kabir Ji, four by Bhagat Namdev Ji, and one each by Bhagat Ravidas Ji, and Bhagat Beni Ji.

Ramkali is an old and famous rag. The names Ramkriti, Ramkriya, Ramgiri, Ramkari, and Ramkeli are also found to be used for this rag.



In the Guru Granth Sahib, Sabad is considered to be more important than rag. Rag is the means through which all-pervasive IkOankar is to be enshrined in the heart. Referring to Rag Ramkali in the Guru Granth Sahib, Guru Amardas Sahib states that if by singing this rag, the all-pervading IkOankar dwells within, only then should one be considered to be adorned: rāmkalī rāmu mani vasiā tā baniā sīgāru. -Guru Granth Sahib 950.
In the Guru Granth Sahib, another rag named Rag Ramkali Dakhni is also recorded under Rag Ramkali. This rag is available only in Gurmat Sangit (Sikh Devotional Music); it is not found in Hindustani or Carnatic music.
Scholars have differing opinions about Rag Ramkali. In the Bharat school of thought of Hindustani Music, it is considered to be a ragini of Rag Hindol, and in the Hanuman school of thought, it has been considered to be a ragini of Srirag.


Bhai Avtar Singh Bhai Gurcharn Singh have mentioned three different forms of Rag Ramkali. First is aurav-sampuran, in which Ni komal (flat) and Ma shudh (natural) are used. In the second one, both Ni are used. In the third one, both Ma, and both Ni are used. Pa is vadi (prominent note) and Sa is samvadi (sub-prominent note).


Description of Rag Ramkali
That: Bhairav.
Svar (notes): Re and Dha komal (flat), both Ma, both Ni, rest all shudh (natural).
Varjit Svar (forbidden notes): Re (in aroh - ascending scale).
Jati (class): sharav-sampuran (some scholars believe it to be sampuran-sampuran).
Vadi (prominent note): Pa.
Samvadi (sub-prominent note): Re.
Aroh (ascending scale): Sa, Ga Ma Pa, Dha (komal - flat) Ni Sa (tar saptak - upper octave).
Avroh (descending scale): Sa (tar saptak - upper octave) Ni Dha (komal - flat), Pa, Ma (tivar - sharp) Pa Dha (komal - flat) Ni (komal - flat) Dha (komal - flat) Pa, Ga Ma Re (komal - flat), Sa.
Mukh Ang/Pakar (Main Part): Dha (komal - flat) Pa, Ma (tivar - sharp) Pa Dha (komal - flat) Ni (komal - flat) Dha (komal - flat) Pa, Ga Ma Re (komal - flat) Sa.
Singing Time
The first quarter of the day.
Sabad 4
Rag Vadahans
Out of the thirty-one principal rags in the Guru Granth Sahib, Rag Vadahans (a musical mode) has been designated eighth place in the sequence. Under this rag, the Bani of four Gurus is recorded from pages 557 to 594 of the Guru Granth Sahib. It includes thirteen Sabads by Guru Nanak Sahib, sixty-one by Guru Amardas Sahib, thirty by Guru Ramdas Sahib, and sixteen by Guru Arjan Sahib.

Rag Vadahans has a prominent place in Gurmat Sangit (Sikh Devotional Music). The Gurus have used this rag in its classical form and folk-tunes (Ghorian, Alahnian, etc.). By using this rag in ‘Alahnian,’ the poetic form related to death, and ‘Ghorian,’ the poetic form related to weddings, the Gurus have highlighted the equality of ‘joy and sorrow’ in the Guru Granth Sahib.
In Sanskrit texts, the Rag Vadahans is written as ‘Vadahansika,’ and it is considered a ragini.

In Rag Vadahans, flavors of Rag Tilak Kamod, Rag Barva, and Rag Des can be found.


According to Bhai Vir Singh, Rag Vadahans is considered the son of Srirag in the Bharat school of thought, ragini of Rag Pancham in Shiva school of thought, ragini of Rag Megh in Ragaranav school of thought, and the son of Rag Malkauns in the ‘Sur Tal Samuh’ Granth. Rag Vadahans is formed by a combination of Rag Maru, Rag Gaurani Durga, Rag Dhanasari, and Rag Jaitsari.

Bhai Kahn Singh Nabha is of the opinion that the form of Rag Vadahans belongs to Khamaj that. In this rag, both Ni are used, and the remaining notes are shudh (natural). Pa is vadi (prominent note) and Re is samvadi (sub-prominent note). This rag has a strong resemblance to Rag Barva.

Scholars of Gurmat Sangit, S. Gian Singh Abbottabad,




Description of Rag Vadahans
That: Khamaj.
Svar (notes): Both Ni, rest all notes shudh (natural).
Varjit Svar (forbidden notes): Ga (in aroh - ascending scale).
Jati (class): sharav-sampuran.
Vadi (prominent note): Pa.
Samvadi (sub-prominent note): Re.
Aroh (ascending scale): Sa Re Ma Pa, Dha Ni (komal - flat) Pa, Ni Sa (tar saptak - upper octave).
Avroh (descending scale): Sa (tar saptak - upper octave) Ni (komal - flat) Pa, Dha Ma Ga Re, Sa Ni (mandar saptak - lower octave) Sa.
Mukh Ang/Pakar (main part): Sa Re Ma Pa Ni (komal - flat) Pa, Dha Ma Ga Re, Sa Ni (komal mandar saptak - flat lower octave) Pa (mandar saptak - lower octave) Ni (mandar saptak - lower octave) Sa.
Singing Time
The third quarter of the day.

Sabad 5
Rag Asa
In Gurmat Sangit (Sikh Devotional Music), Rag Asa (a musical mode) has a lot of importance. The melodious notes of this rag can be heard everywhere in the land of Panjab. Every morning, the golden rays of dawn stream down together with the sweet melody of ‘Asa Ki Var.’ When the redness of every evening gradually begins to be absorbed in the lap of nature, the melodious notes of this rag sing the praises of ‘So Daru.’
Out of the thirty-one principal rags in the Guru Granth Sahib, Rag Asa has been designated fourth place in the sequence. Under this rag, the Bani of six Gurus and five Bhagats is recorded from page 347 to 488 of the Guru Granth Sahib. It includes one hundred seventy Sabads by Guru Nanak Sahib, fifteen by Guru Angad Sahib, forty-eight by Guru Amardas Sahib, thirty by Guru Ramdas Sahib, one hundred eighty-eight by Guru Arjan Sahib, one by Guru Teghbahadar Sahib, thirty-seven by Bhagat Kabir Ji, five by Bhagat Namdev Ji, six by Bhagat Ravidas Ji, and two each by Bhagat Dhanna Ji, and Baba Farid Ji.

There are many prevalent forms of Rag Asa. In earlier times, ragis (professional singers of Sabads from the Guru Granth Sahib) used to sing this rag in various angs (styles or variations). Like Pahari ang, Bilaval ang, Kalian ang, and Kaphi ang. Four other forms of Rag Asa are also available in the Guru Granth Sahib, such as Rag Asa Kaphi, Asavari Sudhang, Asa Asavari, and Asavari.
Rag Asa does not fall in the category of commonly sung rags of Hindustani music. There is not much information available about this rag in the musicology texts. Another rag similar to this is Rag ‘Mand.’ Even though the same notes are used in both Rag Asa and Rag Mand, they differ in their usage (singing style). Both these rags are considered to be based on folk tunes.
Rag Asa is devotional in nature. Darbari ragi (court musician) and poet of the state of Patiala, Master Bhai Prem Singh, writes in ‘Ratan Sangit Bhandar’ that Rag Asa is obtained from a combination of Srirag, Rag Megh, and Rag Maru. This rag falls in the category of sandhi-prakash rags, which are sung and played during mornings and evenings. This is an utrang vadi rag.

Rag Asa is Panjab’s famous and melodious rag. Long before Guru Nanak Sahib’s time, the famous ‘Tunde Asraje Di Var’ (an ode to the maimed king Asraj) was also sung in this rag. The Bani of the Bhagat contributors of the Guru Granth Sahib, who predate Guru Nanak Sahib, is also written in this rag. This establishes the fact that this rag was prevalent even before Guru Nanak Sahib’s arrival. Folk legends, songs, stories, and tunes sung and narrated in Rag Asa were extremely pleasing. Due to its unique qualities, outside of the kirtan tradition, Rag Asa is dominant in folk-music, classical music, and cinema also.
Sri Vimalkant Rai Chaudhary has given two forms of Rag Asha in Hindustani music. In one form, notes Re Ga Dha Ni are komal (flat), and in the other form Ni is flat and jati (class) is given as aurav-sharav. This second form of Rag Asha is closer to the Rag Asa prevalent in Gurmat Sangit.


Description of Rag Asa
That: Bilaval.
Svar (notes): All shudh (natural).
Varjit Svar (forbidden notes): Ga and Ni in aroh (ascending scale).
Jati (class): aurav-sampuran.
Vadi (prominent note): Ma.
Samvadi (sub-prominent note): Sa.
Aroh (ascending scale): Sa, Re Ma, Pa, Dha Sa (tar saptak - upper octave).
Avroh (descending scale): Sa (tar saptak - upper octave) Ni Dha Pa, Ma, Ga Re Sa Re Ga Sa.
Mukh Ang/Pakar (main part): Re Ma, Pa, Dha Sa (tar saptak - upper octave), Ni Dha Pa Ma, Ga Sa Re Ga Sa.
Singing Time
The first quarter of the morning (dawn) and the evening (dusk).
Sabad 6
Rag Bilaval
Out of the thirty-one principal rags in the Guru Granth Sahib, Rag Bilaval has been designated sixteenth place in the sequence. The Bani of five Gurus and four Bhagats is recorded under this rag, on pages 795 to 858 of the Guru Granth Sahib. It includes thirty Sabads by Guru Nanak Sahib, fifty-one by Guru Amardas Sahib, thirty by Guru Ramdas Sahib, one hundred and thirty-seven by Guru Arjan Sahib, three by Guru Teghbahadar Sahib, twelve by Bhagat Kabir Ji, two by Bhagat Ravidas Ji, and one each by Bhagat Namdev Ji and Bhagat Sadhna Ji.

Bilaval is an old and famous rag. Almost every author of the medieval era has mentioned this rag. Sanskrit authors call this rag Velavali, Vilavali, or Bilavali.



Bilaval is considered to be a rag of auspiciousness and happiness. It is tradition to do kirtan in Rag Bilaval during happy occasions. Even in the Guru Granth Sahib, in the Bani revealed under this rag, there is ample description of the distinctive happiness experienced through union with the Divine that results in ecstasy, joy, and bliss on the path of spiritual life.

bilāvalu tab hī kījīai jab mukhi hovai nāmu.
rāg nād sabadi sohaṇe jā lāgai sahaji dhiānu. -Guru Granth Sahib 849.
Some scholars consider Rag Bilaval to be a rag of sampuran jati (class), and some consider it a ragini. Bhai Kahn Singh Nabha also considered it to be a rag of sampuran jati, in which all notes are shudh (natural).




Rag Bilaval is born from its own that. Pandit Bhatkhande has considered Bilaval that as a natural that.



In Gurmat Sangit (Sikh Devotional Music), Rag Bilaval falls into the category of prevalent and significant rags. Guru Arjan Sahib positioned chaunki of Bilaval after chaunki of Asa Ki Var in the tradition of kirtan chaunkis


Prof. Tara Singh, Bhai Avtar Singh Bhai Gurcharn Singh, Sardar Gian Singh Abbottabad, Rag Nirnayak Committee

Description of Rag Bilaval
That: Bilaval.
Svar (notes): All shudh (natural) notes.
Varjit Svar (forbidden notes): None.
Jati (class): sampuran-sampuran.
Vadi (prominent note): Dha.
Samvadi (sub-prominent notes): Ga.
Aroh (ascending scale): Sa, Re Ga, Ma Pa, Dha, Ni Sa (tar saptak - upper octave).
Avroh (descending scale): Sa (tar saptak - upper octave) Ni Dha, Pa, Ma Ga, Re Sa.
Mukh Ang/Pakar (Main Part): Ga Re, Ga Pa Dha Pa, Ma Ga, Ma Re Sa.
Singing Time
The first quarter of the day.