Exclusive Raags created by Guru sahib

Sangat jee, which exclusive raags did guru sahib create?? I know jajavantee raag was invented by guru sahib? Can someone please name all the raags exclusively made by guru sahib?? Bhai Kulbir Singh or any other gursikhs?? Thanks

Please answer wakey wakey!!!!!!

Another Raag that they say is peculiar to Siri Guru Granth Sahib jee is Raag Maajh but I am not sure if Guru Sahib directly invented it. It is the Raag of Maajha zone of Punjab and it is said that people of Majha sang in this Raag; it's their folk Raag . The people of Majha are not too much known for artistic qualities (except for martial arts) but I guess exceptions are there.

Kulbir Singh

Actually, we cannot be definite on whether Jaijavanti was created by Guru Ji, because there are compositions in Jaijavanti from before Guru Teg Bahadur Ji's time. Anyways, whether it is or isn't Guru's creation shouldn't matter too much, so long that we sing the Shabads in the correct Raags (ie: if the Sirlek says Jaijavanti, we should sing it in Jaijavanti).

To answer your question:
Raag Maajh, Vadhans and Tukhari are known to be created by the Gurus. Both Raag Maajh and Vadhans arose from folk tunes common at the time in areas of Punjab.

Some say that Guru Nanak Dev Ji created Raag Asa, but others believe it to be much older (also consider that AsaKiVaar's tune is based on a Dhuni that wasn't Guru's creation).

A lot of Mishrat Raags in Guru Granth Sahib are unique only to Gurbani (meaning they don't show up in Shastri Sangeet Granths), such as all of the Gauris except for Shudh Gauri, Gauri Dakhni (dakhni means south, so this refers to Gauri in Carnatic tradition), Gauri Poorbi, and Gauri Cheti; Asa Asavari (if you consider that it's own Raag), Asa Kafi, Tilang Kafi, Suhi Kafi, Maru Kafi (and possibly Maru as well), Suhi Lalit, Bilaval Gond (the combination of them, not them severately), Basant Hindol, Prabhati Bibhaas, Bibhaas Prabhati.

Bhulchuck Maaf Karni

Absolutely agree with Gurs1kh veerjee, though the point they raised about the Shabad being sung in the exact Raag it was written in, I would have to say I disagree. Whilst it would be optimal to sing in the Raag that has been allocated, it should be worth noting that at the basis of Raag oriented Sangeet is the concept of improvisation. Improvisation and free-flowing music is what sets apart Hindustani classical Sangeet and Gurmat Sangeet from the Sangeet of the rest of the world. The fundamental principle of improvisation and flexibility in expression through music is what characterises the respective forms of Sangeet as mentioned above, and as such it is these principles that have allowed so much innovation within both musical forms. Dare I say it, Gurmat Sangeet finds inspiration in the ancient, innovative arts of both Northern Hindustani Classical Music and The much more rigid Carnatic Tradition of music. The mere fact that Guru sahib has fused both these styles into Dhur Kee Bani is evidence of the fact that Guru Sahib rejoiced at the prospect of Innovation, flexibility and improvisation. Thus, it is necessary to conclude that, whilst it is optimal to sing in the allocated Raag, it is not completely necessary and that using different Raags according to the conncection the musician has with the Gurbani and the feelings it ignites within the Gursikh should play a necessary part in helping the Singh/Singhnee choose a Raag that corresponds with the emotions they associate with the Shabad.

Another point to be raised is that Raag Maru has been lost as the centuries have gone by, so does that mean since we do not know the Raag we shouldn't sing shabads written in Raag Maru? I realise that Jawaddi Taksal has made their own Maru Raag, yet it can be said with an almost unrelenting certainty that it does not resemble the original Maru Raag. There has only ever been one rendition of the original Maru Raag and that is by Pandit Udhay Bhawalkar. It is a 1 hour long rendition, it would be a good idea for you to check it out Jee


To further illustrate the importance of flexibility, improvisation and innovation in the Raag traditions, it is worthy to note that Raags first appeared in what has been called the "Vedic period". There are three periods after this. The Clasical Period, Medieval Period and our period. If within these respective periods we did not see innovation, we would not have a quarter of the Raags we have today. Flexibility in terms of music is essential for further development of the art.

Sinner Wrote:
-------------------------------------------------------
> Absolutely agree with Gurs1kh veerjee, though the
> point they raised about the Shabad being sung in
> the exact Raag it was written in, I would have to
> say I disagree. Whilst it would be optimal to sing
> in the Raag that has been allocated, it should be
> worth noting that at the basis of Raag oriented
> Sangeet is the concept of improvisation.
> Improvisation and free-flowing music is what sets
> apart Hindustani classical Sangeet and Gurmat
> Sangeet from the Sangeet of the rest of the world.
> The fundamental principle of improvisation and
> flexibility in expression through music is what
> characterises the respective forms of Sangeet as
> mentioned above, and as such it is these
> principles that have allowed so much innovation
> within both musical forms. Dare I say it, Gurmat
> Sangeet finds inspiration in the ancient,
> innovative arts of both Northern Hindustani
> Classical Music and The much more rigid Carnatic
> Tradition of music. The mere fact that Guru sahib
> has fused both these styles into Dhur Kee Bani is
> evidence of the fact that Guru Sahib rejoiced at
> the prospect of Innovation, flexibility and
> improvisation. Thus, it is necessary to conclude
> that, whilst it is optimal to sing in the
> allocated Raag, it is not completely necessary and
> that using different Raags according to the
> conncection the musician has with the Gurbani and
> the feelings it ignites within the Gursikh should
> play a necessary part in helping the
> Singh/Singhnee choose a Raag that corresponds with
> the emotions they associate with the Shabad.
>
> Another point to be raised is that Raag Maru has
> been lost as the centuries have gone by, so does
> that mean since we do not know the Raag we
> shouldn't sing shabads written in Raag Maru? I
> realise that Jawaddi Taksal has made their own
> Maru Raag, yet it can be said with an almost
> unrelenting certainty that it does not resemble
> the original Maru Raag. There has only ever been
> one rendition of the original Maru Raag and that
> is by Pandit Udhay Bhawalkar. It is a 1 hour long
> rendition, it would be a good idea for you to
> check it out Jee

please point out why you meniton jwaaddi taksal has invented their own maru raag - what sources draw you to this conclusion please?

Other than you have written a great post and i agree whole heartedly-
>
>
> To further illustrate the importance of
> flexibility, improvisation and innovation in the
> Raag traditions, it is worthy to note that Raags
> first appeared in what has been called the "Vedic
> period". There are three periods after this. The
> Clasical Period, Medieval Period and our period.
> If within these respective periods we did not see
> innovation, we would not have a quarter of the
> Raags we have today. Flexibility in terms of music
> is essential for further development of the art.

NS44 Veerjee, thank you for asking the question Jee
Veerjee, in one of the Kirtan Books Gurmukh Pyare Professor Kartar Singh Jee released, Professor Sahib added some bandishes that were composed in what Professor Jee calls "Raag Maru". Professor Sahib also goes on to tell us how, I believe somewhere in the late 1980's or early 1990's Professor Jee and other Gursikhs such as Bhai Avtar Singh Jee and many other Vadeh Vadeh Vidhaans of Sangeet came together and tried to bring back Maru. What Gursikhs realised was that Raags like Maru Bihag and other such Raags were two Raags superimposed on each other, so they "Took out" bihag from Maru bihag and Voilah, Raag Maru. Yet, from listening to Pandit Udhay Bhawalkar, who did Maru Raag as given to him by his predecessors, it is evident that the Jawaddi Taksal's Maru Raag comes up short.

excellent sinner jeeo thanks for clairfication - Maru raag is so so important as are all others, in my opinion " jeeteh panch berhaaeehaa nanak sufal maaruu ehhoo raag" panna 1425 --

Sinner, I'm not going to argue with you on singing in Nirdhaarat Raag because talking about it never convinces people like you (don't mean to offend you).
Several Ustaads call the "Maru" done by Udau Bhawalker Maru, but it is a older version of Maru Bihag called Marg Bihag (and Bihag itself originates from an old Raag called Bihang). You can't just get Maru by removing Bihag from Maru Bihag, because in the Aagra Gharana, the name Maru originates from Marwa, and Maru Bihag is more of a Bihag combined with Marwa than a combintion of Maru (in Gurmat Sangeet) and Bihag
I don't have full confidence in Jawaddi Taksal's Maru, but in the defense of that version, from the Vismaad Naad, it says:
"Pt. Bedî made a distinction while singing in the form of this Râga which was sung by Bhâî Chhail Rabâbi some sixty years ago in the “avan jaanu rahio” He made it clear that this form was sung in Amritsar at the death of a person at the crematorium."
I'm still not fully confident in this version of Maru (mainly because there is too much going on in it, but that's not a good reason to ignore it); but it cannot be dismissed as "made up", since even a non-Sikh musician supports it (which you don't see too often from non-Sikhs on Sikh Raag).
But, I don't buy the Maru = Marwa thing (in Gurmat Sangeet, though it does in the Aagra Gharana), because the combination of Marwa and Kafi ends up really strange.
Of course, none of this should matter to those who don't believe in Kirtan in the prescribed Raag, but for those of us that do, it is quite a challenge to fully be sure that we are singing certain Raags correctly.

Bhul Chuck Maaf Karni