Suhag are the songs sung at a bride's house before the wedding: songs in which a daughter asks her father for a groom, describes what she wants, and prepares to leave.
Ghorian are the songs sung at the groom's house, addressed to the mare he will ride to the wedding, praising him and his family.
The two sets are formally parallel and completely different in mood. One is anticipatory and anxious; the other is boastful.
Guru Ram Das Ji composed Ghorian in the Guru Granth Sahib Ji, in raga Wadhans, using the form and turning the mare and the journey into an image of the soul's progress. As with the Alahunian, the folk form is taken and redirected rather than rejected.
The doli songs sung at the departure are the third set and the oldest-sounding, and they are the ones that still make a Punjabi wedding stop.
All of this is women's repertoire, transmitted between households at weddings, and it is being replaced by recorded music at exactly the events where it was learned.
The suhag is sung by and for the bride and is about leaving. The ghori is sung at the groom's house and is about the horse and the procession.
The two sets are structurally opposite. One is a lament for a departure and the other is a celebration of an arrival, and they are sung about the same event by the two families.
They are being replaced by recorded music at weddings. The tunes survive in professional recordings and the practice of a family singing them for itself is going.