Jaijavanti: Difference between revisions
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(Jaijaavanti) This is an India 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. | (Jaijaavanti) This is an India 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 | In the [[SGGS]], the Sikh holy Granth (book) there are a total of 60 raga compositions and this raga is the last raga to appear in the series. The composition in this raga appear on a total of 1 page only from page numbers 1352 to 1353. | ||
Jaijaavanti was used only by [[Guru Tegh Bahadur]] for four hymns. This raga does not appear in the [[Ragmala]] but was known as Javanta in as early as the 14th century. Today it is regarded as an important raga belonging to the Khamaj thata. This majestic and highly arresting raga is assigned to the night hours. | Jaijaavanti was used only by [[Guru Tegh Bahadur]] for four hymns. This raga does not appear in the [[Ragmala]] but was known as Javanta in as early as the 14th century. Today it is regarded as an important raga belonging to the Khamaj thata. This majestic and highly arresting raga is assigned to the night hours. |
Revision as of 01:31, 28 January 2019
(Jaijaavanti) This is an India 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 60 raga compositions and this raga is the last raga to appear in the series. The composition in this raga appear on a total of 1 page only from page numbers 1352 to 1353.
Jaijaavanti was used only by Guru Tegh Bahadur for four hymns. This raga does not appear in the Ragmala but was known as Javanta in as early as the 14th century. Today it is regarded as an important raga belonging to the Khamaj thata. This majestic and highly arresting raga is assigned to the night hours.
Section | Punjabi | English |
Aroh: | ਸ ਰ ਗ ਮ ਪ ਨ ਸ | Sa Re Ga Ma Pa Ni Sa |
Avroh: | ਸ ਨ ਧ ਪ ਧ ਮ ਰ ਗ ਰ ਸ | Sa Ni Dha Pa Dha Ma Re Ga Re Sa |
Pakar: | ਰ ਗ ਰ ਸ ਨ ਧ ਪ ਰ | Re Ga Re Sa Ni Dha Pa Re |
Vadi: | ਰ | Re |
Samvadi: | ਪ | Pa |
See also
External links
- Gurmat Gian Group
- Gurmat Sangeet Project
- Gurmat Sangeet
- Gurmat Sangeet Darbar
- Raj Academy of Asian Music
- Sikhnet: Shabad for Printing
Kirtan: | Raga · Taal · Ragmala · Classical Music · Sangeet · Dhuni · Divan · Asa di Var · Jatha · Simran · Shabad · Tuk · Rababi · Dhadhi |
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Ragis: | Harjinder Singh · Maninder Singh · Amolak Singh · Darshan Singh · Balwinder Singh · Harbans Singh · Anoop Singh · Niranjan Singh · Amrik Singh · Avtar Singh · Snatam Kaur ·Kamaljit Kaur · Dileep Kaur · Joginder Singh · SS Maskeen |
Saaj: | Harmonium · Tabla · · Tanpura · Taus · Rabab · Sarangi · Dilruba · · Saranda · Sarode · Sitar · Santoor · Pakhawaj · Dhadh · Dholak · Dool |