The Entire Raag Mala: The Last 2 Parts Missing?

Gurfateh

Das is putting Raagmala part of aothantic version of Madhavnal Kaam Kandala.

Parts differnt from one in Guru Granth Sahib Ji are underlined.

Das wants to say that there are other versions of the same stroy by other writers who hapened to be before and after Alam also.
*

 
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I cant read HINDI - DEVNAGREE SCRIPT....sad
Reference:: Sikh Philosophy Network http://www.sikhphilosophy.net/discourses-in-english/6994-entire-raag-mala-last-2-parts.html

Jarnail singh gyani

Gurfateh

Within a few das das will try to bring in each and evry differnce but here also das has taken care of that thing regarding various phonatics represented differntly by Nagri and Gurmukhi script ie those words which were in differnt spelling due to change of scripts but sounded the same are not underlined.

Das is pasting Raagmala with Nagri script below.

ਰਾਗ ਮਾਲਾ ॥
राग माला ॥
raag maalaa.
Raag Maalaa:

ਰਾਗ ਏਕ ਸੰਗਿ ਪੰਚ ਬਰੰਗਨ ॥
राग एक संगि पंच बरंगन ॥
raag ayk sang panch barangan.
Each Raga has five wives,

ਸੰਗਿ ਅਲਾਪਹਿ ਆਠਉ ਨੰਦਨ ॥
संगि अलापहि आठउ नंदन ॥
sang alaapeh aath-o nandan.
and eight sons, who emit distinctive notes.

ਪ੍ਰਥਮ ਰਾਗ ਭੈਰਉ ਵੈ ਕਰਹੀ ॥
प्रथम राग भैरउ वै करही ॥
paratham raag bhairo vai karhee.
In the first place is Raag Bhairao.
ਪੰਚ ਰਾਗਨੀ ਸੰਗਿ ਉਚਰਹੀ ॥
पंच रागनी संगि उचरही ॥
panch raagnee sang uchrahee.
It is accompanied by the voices of its five Raaginis:

ਪ੍ਰਥਮ ਭੈਰਵੀ ਬਿਲਾਵਲੀ ॥
प्रथम भैरवी बिलावली ॥
paratham bhairvee bilaavalee.
First come Bhairavee, and Bilaavalee;

ਪੁੰਨਿਆਕੀ ਗਾਵਹਿ ਬੰਗਲੀ ॥
पुंनिआकी गावहि बंगली ॥
punni-aakee gaavahi banglee.
then the songs of Punni-aakee and Bangalee;

ਪੁਨਿ ਅਸਲੇਖੀ ਕੀ ਭਈ ਬਾਰੀ ॥
पुनि असलेखी की भई बारी ॥
pun aslaykhee kee bha-ee baaree.
and then Asalaykhee.

ਏ ਭੈਰਉ ਕੀ ਪਾਚਉ ਨਾਰੀ ॥
Reference:: Sikh Philosophy Network http://www.sikhphilosophy.net/showthread.php?t=6994
ए भैरउ की पाचउ नारी ॥
ay bhairo kee paacha-o naaree.
These are the five consorts of Bhairao.

ਪੰਚਮ ਹਰਖ ਦਿਸਾਖ ਸੁਨਾਵਹਿ ॥
पंचम हरख दिसाख सुनावहि ॥
pancham harakh disaakh sunaaveh.
The sounds of Pancham, Harakh and Disaakh;

ਬੰਗਾਲਮ ਮਧੁ ਮਾਧਵ ਗਾਵਹਿ ॥੧॥
बंगालम मधु माधव गावहि ॥१॥
bangaalam maDh maaDhav gaavahi. ||1||
the songs of Bangaalam, Madh and Maadhav. ||1||

ਲਲਤ ਬਿਲਾਵਲ ਗਾਵਹੀ ਅਪੁਨੀ ਅਪੁਨੀ ਭਾਂਤਿ ॥
ललत बिलावल गावही अपुनी अपुनी भांति ॥
lalat bilaaval gaavhee apunee apunee bhaaNt.
Lalat and Bilaaval - each gives out its own melody.

ਅਸਟ ਪੁਤ੍ਰ ਭੈਰਵ ਕੇ ਗਾਵਹਿ ਗਾਇਨ ਪਾਤ੍ਰ ॥੧॥
असट पुत्र भैरव के गावहि गाइन पात्र ॥१॥
asat putar bhairav kay gaavahi gaa-in paatar. ||1||
when these eight sons of Bhairao are sung by accomplished musicians. ||1||

ਦੁਤੀਆ ਮਾਲਕਉਸਕ ਆਲਾਪਹਿ ॥
दुतीआ मालकउसक आलापहि ॥
dutee-aa maalka-usak aalaapeh.
In the second family is Maalakausak,

ਸੰਗਿ ਰਾਗਨੀ ਪਾਚਉ ਥਾਪਹਿ ॥
संगि रागनी पाचउ थापहि ॥
sang raagnee paacha-o thaapeh.
who brings his five Raaginis:

ਗੋਂਡਕਰੀ ਅਰੁ ਦੇਵਗੰਧਾਰੀ ॥
गोंडकरी अरु देवगंधारी ॥
goNdkaree ar dayvganDhaaree.
Gondakaree and Dayv Gandhaaree,

ਗੰਧਾਰੀ ਸੀਹੁਤੀ ਉਚਾਰੀ ॥
गंधारी सीहुती उचारी ॥
ganDhaaree seehutee uchaaree.
the voices of Gandhaaree and Seehutee,

ਧਨਾਸਰੀ ਏ ਪਾਚਉ ਗਾਈ ॥
धनासरी ए पाचउ गाई ॥
Dhanaasree ay paacha-o gaa-ee.
and the fifth song of Dhanaasaree.

ਮਾਲ ਰਾਗ ਕਉਸਕ ਸੰਗਿ ਲਾਈ ॥
माल राग कउसक संगि लाई ॥
maal raag ka-usak sang laa-ee.
This chain of Maalakausak brings along:

ਮਾਰੂ ਮਸਤਅੰਗ ਮੇਵਾਰਾ ॥
मारू मसतअंग मेवारा ॥
maaroo masatang mayvaaraa.
Maaroo, Masta-ang and Mayvaaraa,

ਪ੍ਰਬਲਚੰਡ ਕਉਸਕ ਉਭਾਰਾ ॥
प्रबलचंड कउसक उभारा ॥
parabalchand ka-usak ubhaaraa.
Prabal, Chandakausak,

ਖਉਖਟ ਅਉ ਭਉਰਾਨਦ ਗਾਏ ॥
खउखट अउ भउरानद गाए ॥
kha-ukhat a-o bha-uraanad gaa-ay.
Khau, Khat and Bauraanad singing.

ਅਸਟ ਮਾਲਕਉਸਕ ਸੰਗਿ ਲਾਏ ॥੧॥
असट मालकउसक संगि लाए ॥१॥
asat maalka-usak sang laa-ay. ||1||
These are the eight sons of Maalakausak. ||1||

ਪੁਨਿ ਆਇਅਉ ਹਿੰਡੋਲੁ ਪੰਚ ਨਾਰਿ ਸੰਗਿ ਅਸਟ ਸੁਤ ॥
पुनि आइअउ हिंडोलु पंच नारि संगि असट सुत ॥
pun aa-i-a-o hindol panch naar sang asat sut.
Then comes Hindol with his five wives and eight sons;

ਉਠਹਿ ਤਾਨ ਕਲੋਲ ਗਾਇਨ ਤਾਰ ਮਿਲਾਵਹੀ ॥੧॥
उठहि तान कलोल गाइन तार मिलावही ॥१॥
utheh taan ka gaa-in taar milaavahee. ||1||
it rises in waves when the sweet-voiced chorus sings. ||1||

ਤੇਲੰਗੀ ਦੇਵਕਰੀ ਆਈ ॥
तेलंगी देवकरी आई ॥
taylangee dayvkaree aa-ee.
There come Taylangee and Darvakaree;

ਬਸੰਤੀ ਸੰਦੂਰ ਸੁਹਾਈ ॥
बसंती संदूर सुहाई ॥
basantee sandoor suhaa-ee.
Basantee and Sandoor follow;

ਸਰਸ ਅਹੀਰੀ ਲੈ ਭਾਰਜਾ ॥
सरस अहीरी लै भारजा ॥
saras aheeree lai bhaarjaa.
then Aheeree, the finest of women.

ਸੰਗਿ ਲਾਈ ਪਾਂਚਉ ਆਰਜਾ ॥
संगि लाई पांचउ आरजा ॥
sang laa-ee paaNcha-o aarjaa.
These five wives come together.

ਸੁਰਮਾਨੰਦ ਭਾਸਕਰ ਆਏ ॥
सुरमानंद भासकर आए ॥
surmaanand bhaaskar aa-ay.
The sons: Surmaanand and Bhaaskar come,

ਚੰਦ੍ਰਬਿੰਬ ਮੰਗਲਨ ਸੁਹਾਏ ॥
चंद्रबि्मब मंगलन सुहाए ॥
chandarbimb manglan suhaa-ay.
Chandrabinb and Mangalan follow.

ਸਰਸਬਾਨ ਅਉ ਆਹਿ ਬਿਨੋਦਾ ॥
सरसबान अउ आहि बिनोदा ॥
sarasbaan a-o aahi binodaa.
Sarasbaan and Binodaa then come,

ਗਾਵਹਿ ਸਰਸ ਬਸੰਤ ਕਮੋਦਾ ॥
गावहि सरस बसंत कमोदा ॥
gaavahi saras basant kamodaa.
and the thrilling songs of Basant and Kamodaa.

ਅਸਟ ਪੁਤ੍ਰ ਮੈ ਕਹੇ ਸਵਾਰੀ ॥
असट पुत्र मै कहे सवारी ॥
asat putar mai kahay savaaree.
These are the eight sons I have listed.

ਪੁਨਿ ਆਈ ਦੀਪਕ ਕੀ ਬਾਰੀ ॥੧॥
पुनि आई दीपक की बारी ॥१॥
pun aa-ee deepak kee baaree. ||1||
Then comes the turn of Deepak. ||1||

ਕਛੇਲੀ ਪਟਮੰਜਰੀ ਟੋਡੀ ਕਹੀ ਅਲਾਪਿ ॥
कछेली पटमंजरी टोडी कही अलापि ॥
kachhaylee patmanjree todee kahee alaap.
Kachhaylee, Patamanjaree and Todee are sung;

ਕਾਮੋਦੀ ਅਉ ਗੂਜਰੀ ਸੰਗਿ ਦੀਪਕ ਕੇ ਥਾਪਿ ॥੧॥
कामोदी अउ गूजरी संगि दीपक के थापि ॥१॥
kaamodee a-o goojree sang deepak kay thaap. ||1||
Kaamodee and Goojaree accompany Deepak. ||1||

ਕਾਲੰਕਾ ਕੁੰਤਲ ਅਉ ਰਾਮਾ ॥
कालंका कुंतल अउ रामा ॥
kaalankaa kuntal a-o raamaa.
Kaalankaa, Kuntal and Raamaa,

ਕਮਲਕੁਸਮ ਚੰਪਕ ਕੇ ਨਾਮਾ ॥
कमलकुसम च्मपक के नामा ॥
kamalkusam champak kay naamaa.
Kamalakusam and Champak are their names;

ਗਉਰਾ ਅਉ ਕਾਨਰਾ ਕਲ੍ਯ੍ਯਾਨਾ ॥
गउरा अउ कानरा कल्याना ॥
ga-uraa a-o kaanraa kal-yaanaa.
Gauraa, Kaanaraa and Kaylaanaa;

ਅਸਟ ਪੁਤ੍ਰ ਦੀਪਕ ਕੇ ਜਾਨਾ ॥੧॥
असट पुत्र दीपक के जाना ॥१॥
asat putar deepak kay jaanaa. ||1||
these are the eight sons of Deepak. ||1||

ਸਭ ਮਿਲਿ ਸਿਰੀਰਾਗ ਵੈ ਗਾਵਹਿ ॥
सभ मिलि सिरीराग वै गावहि ॥
sabh mil sireeraag vai gaavahi.
All join together and sing Siree Raag,

ਪਾਂਚਉ ਸੰਗਿ ਬਰੰਗਨ ਲਾਵਹਿ ॥
पांचउ संगि बरंगन लावहि ॥
paaNcha-o sang barangan laaveh.
which is accompanied by its five wives.:

ਬੈਰਾਰੀ ਕਰਨਾਟੀ ਧਰੀ ॥
बैरारी करनाटी धरी ॥
bairaaree karnaatee Dharee.
Bairaaree and Karnaatee,

ਗਵਰੀ ਗਾਵਹਿ ਆਸਾਵਰੀ ॥
गवरी गावहि आसावरी ॥
gavree gaaveh aasaavaree.
the songs of Gawree and Aasaavaree;

ਤਿਹ ਪਾਛੈ ਸਿੰਧਵੀ ਅਲਾਪੀ ॥
तिह पाछै सिंधवी अलापी ॥
tih paachhai sinDhvee alaapee.
then follows Sindhavee.

ਸਿਰੀਰਾਗ ਸਿਉ ਪਾਂਚਉ ਥਾਪੀ ॥੧॥
सिरीराग सिउ पांचउ थापी ॥१॥
sireeraag si-o paaNcha-o thaapee. ||1||
These are the five wives of Siree Raag. ||1||

ਸਾਲੂ ਸਾਰਗ ਸਾਗਰਾ ਅਉਰ ਗੋਂਡ ਗੰਭੀਰ ॥
सालू सारग सागरा अउर गोंड ग्मभीर ॥
saaloo saarag saagraa a-or gond gambheer.
Saaloo, Saarang, Saagaraa, Gond and Gambheer -

ਅਸਟ ਪੁਤ੍ਰ ਸ੍ਰੀਰਾਗ ਕੇ ਗੁੰਡ ਕੁੰਭ ਹਮੀਰ ॥੧॥
असट पुत्र स्रीराग के गुंड कु्मभ हमीर ॥१॥
Reference:: Sikh Philosophy Network http://www.sikhphilosophy.net/showthread.php?t=6994
asat putar sareeraag kay gund kumbh hameer. ||1||
the eight sons of Siree Raag include Gund, Kumb and Hameer. ||1||

ਖਸਟਮ ਮੇਘ ਰਾਗ ਵੈ ਗਾਵਹਿ ॥
खसटम मेघ राग वै गावहि ॥
khastam maygh raag vai gaavahi.
In the sixth place, Maygh Raag is sung,

ਪਾਂਚਉ ਸੰਗਿ ਬਰੰਗਨ ਲਾਵਹਿ ॥
पांचउ संगि बरंगन लावहि ॥
paaNcha-o sang barangan laaveh.
with its five wives in accompaniment:

ਸੋਰਠਿ ਗੋਂਡ ਮਲਾਰੀ ਧੁਨੀ ॥
सोरठि गोंड मलारी धुनी ॥
sorath gond malaaree Dhunee.
Sorat'h, Gond, and the melody of Malaaree;

ਪੁਨਿ ਗਾਵਹਿ ਆਸਾ ਗੁਨ ਗੁਨੀ ॥
पुनि गावहि आसा गुन गुनी ॥
pun gaavahi aasaa gun gunee.
then the harmonies of Aasaa are sung.

ਊਚੈ ਸੁਰਿ ਸੂਹਉ ਪੁਨਿ ਕੀਨੀ ॥
ऊचै सुरि सूहउ पुनि कीनी ॥
oochai sur sooha-o pun keenee.
And finally comes the high tone Soohau.

ਮੇਘ ਰਾਗ ਸਿਉ ਪਾਂਚਉ ਚੀਨੀ ॥੧॥
मेघ राग सिउ पांचउ चीनी ॥१॥
maygh raag si-o paaNcha-o cheenee. ||1||
These are the five with Maygh Raag. ||1||

ਬੈਰਾਧਰ ਗਜਧਰ ਕੇਦਾਰਾ ॥
बैराधर गजधर केदारा ॥
bairaaDhar gajDhar kaydaaraa.
Bairaadhar, Gajadhar, Kaydaaraa,

ਜਬਲੀਧਰ ਨਟ ਅਉ ਜਲਧਾਰਾ ॥
जबलीधर नट अउ जलधारा ॥
jableeDhar nat a-o jalDhaaraa.
Jabaleedhar, Nat and Jaladhaaraa.

ਪੁਨਿ ਗਾਵਹਿ ਸੰਕਰ ਅਉ ਸਿਆਮਾ ॥
पुनि गावहि संकर अउ सिआमा ॥
pun gaavahi sankar a-o si-aamaa.
Then come the songs of Shankar and Shi-aamaa.

ਮੇਘ ਰਾਗ ਪੁਤ੍ਰਨ ਕੇ ਨਾਮਾ ॥੧॥
मेघ राग पुत्रन के नामा ॥१॥
maygh raag putran kay naamaa. ||1||
These are the names of the sons of Maygh Raag. ||1||

ਖਸਟ ਰਾਗ ਉਨਿ ਗਾਏ ਸੰਗਿ ਰਾਗਨੀ ਤੀਸ ॥
खसट राग उनि गाए संगि रागनी तीस ॥
khasat raag un gaa-ay sang raagnee tees.
So all together, they sing the six Raagas and the thirty Raaginis,

ਸਭੈ ਪੁਤ੍ਰ ਰਾਗੰਨ ਕੇ ਅਠਾਰਹ ਦਸ ਬੀਸ ॥੧॥੧॥
सभै पुत्र रागंन के अठारह दस बीस ॥१॥१॥
sabhai putar raagann kay athaarah das bees. ||1||1||
and all the forty-eight sons of the Raagas. ||1||1||

kindlt start from first underlined word in Alam's work first underline word is Ek ie एक in image attched.

Gurfateh

tranlitration as follows.

Das did not underline those words which are writtan in Nagri and Gumukhi in differnt spellings but sound the same.
Ek raag Sang Paanch Ragini.
Sang Alapai Athon Nandan(i)..
Pratham Raag Bhairav ucharahi.
Pancho Kamini Sang Suhahin..
Pratham Bhairavi Puni Bilavali.
Puni Jaki Gave Bangaali..
Puni Asavari Au Bairari.
Ye Bhairo Ki Pancho Nari..
Pancham Harsh de Sath Sunave.
Pingali Madho Madhav Gavai..
lalit bialwal Gavahin apni Apni bhant(i).
Ast Putra Bhairav Kahain Gain Gave Pant(i)..
Dutin Malkauns Alapai.
Panch Kamini sangat Thapai..
Gaudi Kati Au Devgandhari.
Gandhari si hutin Uchari..
Dhansiri ye Pancho Kamini.
Malkauns Ke Sang Subhanmini..
Maru Mastak ang Mewara.
Prabal Candra Kaunsik Aon bhara..
ghunghatt au Bhauran drig Gai.
Reference:: Sikh Philosophy Network http://www.sikhphilosophy.net/showthread.php?t=6994
Malkauns atho sut bhaay..
puni ayo hindol Panch kamini ast Sut.
uthai sau taal Ki Gayin taan mialwahi..
Telangi Pun(i) dev Girai.
wasanti Sindhuri Suhai..
sa Aheri Lai Aya Raja.
sang alapahi panch Bharja..
sur man nand bhasm kari aayi.
chandr bib Mangali suahai..
saraswan Au aahi vinoda.
Gavain Saras Basantak moda..
Ast Putra main Kahe Savari.
puni aye deepak ki bari..
Kachhali patt majari tohi Kahi alap(i).
Kamodi Au Gujari sang Deepakain thap(i)..
Kal Kal au kuntal Rama.
Kamal Kusum Champak ke nama..
gaurhi kanhriy kalyana.
ast putr deepak ke jana..
sabh mil(i) wahi sri Ragai Gavain.
Panchau Sang varang alapai..
bairati Karnati dhari.
gauri Gavain Asawari..
Puni Pachhai Sinddhavi alapi.
Siri raag Sang Panchau thapi..
sava Sarang Sagara au gandhari bheer.
Reference:: Sikh Philosophy Network http://www.sikhphilosophy.net/showthread.php?t=6994
ast Putr shri raag Ke Gol vund Gambheer..
Ast Megh Raaj Wai Gavain.
Pancho Sang Warangan(i) Lyavain..
Saur Gaurhmalari dhuni.
puni gavai Asa gun guni..
Ooche Sur Son Suhon kini.
Megh Rag Sang Pancho Chinhi..
beera ghar Gaj aru Kedara.
chandoli ghar nit Ujiyara..
Pun(i) Gave baskar Au Syama.
megh Rag Pun(i) tin ke nama..
ast Raag ye sakal sang raginiy gan(i) tees.
Sabh Sut ragan ke kahe atharah das bees..



Forgive das if any speeling mistakes as work was done in a hurry.

harsimrat it seems u r out of ur mind.
Reference:: Sikh Philosophy Network http://www.sikhphilosophy.net/showthread.php?t=6994
i hope u don't repeat ur post or ur words again.
How much is the need of the spread of correct sikhi can be gauged from ur post.
Reference:: Sikh Philosophy Network http://www.sikhphilosophy.net/showthread.php?t=6994
whatever is written in guru granth sahib is the word of the lord.
u can't change it or susupect it.
i hope waheguru blesses u with a good mind.

amand1234 ji
Reference:: Sikh Philosophy Network http://www.sikhphilosophy.net/showthread.php?t=6994

Thank you for your contribution. The raagmala is not even part of the Sri Guru Granth Sahib. Those stanzas were added many years after the final sections bearing the signature of the 5th Nanak, the bani of Guru Teg Bahadur and the seloka of Guru Gobind Singh. A bad joke if it were funny. It is the stuff of continued controversy. The idea that there is more that is missing and waiting to be added just reinforces the irritation of those who have become totally disaffected with attempts to improve on the the Bani of the Gurus and efforts to diminish the authority of Sri Guru Granth Sahib in order to promote various agendas. Stuff of another discussion.

This can be found Shamsher Singh Ashok's book on Rag Mala . It was printed by shromani Gurudwara perbadhak kmatee, Amritsar but due to politics it is not printed in these days. These are verses from Madhev nal Kam Kundlan Kissa which is printed in full from so that any body can know

harman deep ji

Forgive me. But it is due to politics that the Raag Mala is in Guru Granth to begin with.

It is not part of the Sri Guru Granth Sahib ji as sealed by Guru Gobind Singh. It was added much later and forced upon the panth not too long ago.

Resectable sister,
Reference:: Sikh Philosophy Network http://www.sikhphilosophy.net/showthread.php?t=6994
Reference:: Sikh Philosophy Network http://www.sikhphilosophy.net/showthread.php?t=6994
I have read the whole discussion. Now these days it is our right that we should know what actual is. As veer ji is respectful to every body it is the choice of our new generation. The main thing which is most important is that we must know what everyone is thinking and we may have our own attitude.
Veer Vijaydeep Singh ji it is also important to study how Ragmala is followed by the persons who are full supporters of Ragmala if it is studied how Rags should be sing according to Ragmala than it will helpful to clear whole picture. I have today learnt that written script of Ragas are produced first in Iran after that Bhatkhande write the script for rags. It is not only important to read Ragmala but it is also important how it should be followed. Why till now we can not produce the system for rags, ragis. Why we can manot have the Ragis of Pandit Bhim Sen Joshi Stature. We are fighting for Ragmala but is the position of singing according to ragas. There is no doubt we are following the Indian Classical System But it is equally important that how much our system is influenced by ragi Ghranas Of Iran and Panjabi folk singing. As wars are ordered to sing according to some folk singing( tunde As raje ki dhuni gawni) .Most important is this we are only guessing about the ‘Ghar’ phrase.
Vijaydeep Singh is working in right direction though we not accept the whole work anyone we must have to recognize the wisdom which is shown if it is present in the work.Vijaydeep Singh ji it is also important to study is according to ancient traditional notations of our old traditional ragis upto how much extent all these systems are followed. What is Hunmant mat and what is Bhart Mat. and most important is that where all these stand in That Rag Padhti. All these aspects need to be studied and answered. If we can not follow Rag Mala than what is the purpose. It is also picks our intention. I am also ready to help you in these studies.If you give me to serve with you. Guru Fateh parvan hove jio.

Harmandeep Singh