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, four by Bhagat Namdev, and one each by Bhagat Ravidas, and Bhagat Beni.

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.