Vaar & Dhuni: There are 22 Vaaras included in the SGGS, 9 of them come with distinctive assigned traditional folk musical tunes (Dhuni) of their own as noted below. Thus, they have a simple rhythm or a pattern of a folk Taal(beat) with a wider simple and emotional appeal. Vaars are not assigned with any particular "Ghar" notation. They are accompanied by "Slokas" and "Paurees", and the essence of the Vaar lies in the "Pauree". They are generally intended to produce martial feelings.

  • Maanjh Kee Vaar Mahala 1 — Malak Mureed Tathaa Chandharaa Soheeaa kee Dhuni (sggs 137).
  • Gauree Kee Vaar Mahala 4 — Raai Kamaaldee Mojdee Kee Dhuni (sggs 318).
  • Aasaa Dee Vaar Mahala 1 — Tunde Asraaje Kee Dhuni (sggs 462).
  • Gujree Kee Vaar Mahala 3 — Sikandar Biraahim Kee Kee Dhuni (sggs 508).
  • Wadhans Kee Vaar Mahala 5 — Lalaan Bahreemaa Kee Dhuni (sggs 585).
  • Raamkalee Kee Vaar Mahala 3 — Jodhe Veere Poorvaanee Kee Dhuni (sggs 947).
  • Saarang Kee Vaar Mahala 5 — Raai Mahame Hasane Kee Dhuni (sggs 1237).
  • Malaar Kee Vaar Mahala 1 — Raanai Kailaas Tathaa Maalde Kee Dhuni (sggs 1278).
  • Kaanare Kee Vaar Mahala 5 — Moose Kee Dhuni (sggs 1312).

Vaars are to be sung in appropriate Raaga and Dhuni indicated in the SGGS. For example, Maanjh Kee Vaar is to be sung in Raaga Maanjh accompanied by the Taala of "Malak Mureed Tathaa Chandharaa Soheeaa kee Dhuni". Unfortunately the art of traditional Dhunis mentioned in the SGGS appears to be dying out, and needs to be preserved by training youngsters

A Vaar is a narrative poem, usually set to music; thus, it often is a story told in a song. Any story form may be told as a ballad, such as historical accounts or fairy tales in verse form. It usually has foreshortened, alternating four stress lines ("ballad meter") and simple repeating rhymes, often with a refrain.

If it is based on a political or religious theme, a ballad may be a hymn. It should not be confused with the ballade, a 14th and 15th century French verse form. The ballade is a verse form typically consisting of three eight-line stanzas, each with a consistent metre and a particular rhyme scheme. The last line in the stanza is a refrain, and the stanzas are followed by a four-line concluding stanza (an envoi) usually addressed to a prince.

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