Out of the thirty-one principal rags in the Guru Granth Sahib, Rag Suhi (a musical mode) has been designated the fifteenth place in the sequence. In this rag, there are forty-two Sabads by Guru Nanak Sahib, eleven saloks by Guru Angad Sahib, forty-six by Guru Amardas Sahib, twenty-three by Guru Ramdas Sahib, seventy-five by Guru Arjan Sahib, five by Bhagat Kabir, three by Bhagat Ravidas and two by Baba Farid.
Bhai Joginder Singh Talwara, Bani Biura, part 1, page 103-113.
Suhi is a rag of enthusiasm. It is associated with deep love and devotion and is used to evoke feelings of deep adoration. There are many references to marital bliss (suhag) and the married woman (suhagan)
In Indian culture, a ‘suhagan’ is a married woman or a woman whose husband (suhag) is alive. The suhagan enjoys all comforts of having a husband and family in a society that places value on her status as a suhagan. Due to the conservative and patriarchal structure of medieval society, the existence of a woman had been associated with her husband, which is still prevalent.
In the Guru Granth Sahib, the term ‘suhagan’ is used to refer to a seeker described through the symbolism of a human-bride. Consequently, a seeker who is united or connected with IkOankar (the Divine) is called ‘suhagan.’ The suhagan is one who is suchaji or gurmukh (Guru-centered) and jeweled with love, devotion and reverence for the Divine (gurmukhi sadā sohāgaṇī bhai bhagati sīgāri. -Guru Granth Sahib 428). The characteristics of a suhagan include truthful conduct, contentment, compassion, and righteousness. Such a suhagan is pleasing to the Divine (satu santokhu daïā dharamu sīgāru banāvaü. saphal suhāgaṇi nānakā apune prabh bhāvaü. -Guru Granth Sahib 812).
In the Guru Granth Sahib, the human being is also depicted as a bride (human-bride or seeker) and the Divine (IkOankar) as the Husband, in addition to many other relationship-models such as child-Parent, friends, devotee-Divine, etc. In Panjabi society and culture, a woman who is proficient in housework and conduct is called ‘suchaji.’ In this Sabad, a seeker who is connected to the Divine is called ‘suchaji.’
The mention of Rag Suhi is seldom found in Indian music texts. In some books, Suhi has also been described as Suho, Suhav, and Suhavi etc. Pandit Lochan has given two names Shudh Suhav (Pure Suhav) and Desi Suhav (Indigenous Suhav). Pandit Hirdainarain Dev identifies Shudh Suhav (Pure Suhav) with sharav jati (class) and Desi Suhav (Indigenous Suhav) with sampuran jati, and connects their notes/keys with Bilaval that. Pundrik Vithul, on the basis of ‘rag-ragini’ classification, suggests Suhavi to be a ragini of Rag Nat Narayan and believes it to have originated from Kedar that. But other authors have not mentioned this rag.
Prof. Kartar Singh, Gurmati Sangit Darpan, part one, page 370.
In the forms of Kanara also, there is a Suha Rag, which falls under the category of difficult rags. Some scholars believe Rag Suha to be the same as Rag Suhi. Even though both names, Suhi and Suha are available, the forms of both these rags are different. Because Suha belongs to Kafi that, whereas Suhi belongs to Bilaval that.
Prof. Kartar Singh, Gurmati Sangit Darpan, part one, page 370.
Suhi is an unpopular rag, which has been brought into currency by the Gurus. According to Bhai Kahn Singh Nabha,
Bhai Kahn Singh Nabha, Mahan Kosh, page 222.
According to Dr. Gurnam Singh,
Dr. Gurnam Singh and Yashpal Sharma, Gurmati Sangit Rag Ratnavali, page 40.
Principal Sukhwant Singh (edt.), Guru Nanak Sangit Padhati Granth, part one, page 44.
Description of Rag Suhi
That: Bilaval.
Vadi (prominent note): Pa.
Samvadi (sub-prominent note): Sa.
Jati (class): sampuran-sampuran.
Aroh (ascending scale): Sa Re Ga Ma Pa, Ni Dha Ni Sa (tar saptak - upper octave).
Avroh (descending scale): Sa (tar saptak - upper octave) Ni (komal - flat) Dha Pa, Ma Ga, Re Ga Re Sa.
Mukh Ang/Pakar (main part): Sa (tar saptak - upper octave) Ni (komal - flat) Pa, Ma Ga Re Ga, Ma Ga Re Sa.
Singing Time
The second quarter of the day.
