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Guru Granth Sahib
Composition, Arrangement & Layout
ਜਪੁ | Jup
ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
Ashtpadiyan (235-242)
Chhant (242-249)
Baavan Akhari (250-262)
Sukhmani (262-296)
Thittee (296-300)
Gauree kii Vaar (300-323)
Gurbani (323-330)
Ashtpadiyan (330-340)
Baavan Akhari (340-343)
Thintteen (343-344)
Vaar Kabir (344-345)
Bhagat Bani (345-346)
ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
Ashtpadiyan (411-432)
Patee (432-435)
Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
Gunvantee (763)
Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
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Guru Granth Sahib
Aasaa Di Vaar
Aasaa Di Vaar To First Pauri: Āpīnĥai āp Sāji▫o / ਆਪੀਨ੍ਹ੍ਹੈ ਆਪੁ ਸਾਜਿਓ
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<blockquote data-quote="Serjinder Singh" data-source="post: 181219" data-attributes="member: 13216"><p><span style="font-family: 'Calibri'"><span style="font-size: 12px">A ‘vaar is a folk singing style that was sung by ‘Dhadis’ using basically ‘Dhud’, a small hand-held drum played using fingers of one hand hitting the side of the drum while the other hand works on a chord wrapped around the tightening strings of the drum to modulate the pitch and tone of the sound of each stroke. The singers are called Dhadis because their basic instrument is the Dhud drum. The other important instrument that is invariably employed to accompany is ‘Sarangi’. The composition that is sung consists of ‘Pauris’. A vaar is always fundamentally a collections of ‘Pauris’ to be sung. Apart from the 22 Vaars in Sri Guru Granth Sahib, one for each raag, even Japuji Sahib is also a Vaar. In old times the Japuji was also called ‘Nirankar di Vaar’.</span></span></p><p><span style="font-family: 'Calibri'"><span style="font-size: 12px">In between the singing of pauris, the Dhadis verbally recite saloks that are not sung in any raag but simply recited generally as introduction or commentary, or some other objective. But saloks are not to be sung. That is why we don’t see Freed’s salok given any Raag indication. Same is the case with the Bhog Saloks of ninth Guru ji. Similarly, there is no Raag indication for the group of saloks near the end known as ‘Salok Vaaraan te Vadheek’ (meaning those saloks that could not be added to the pauris of the 22 Vaars and hence are ‘Vadheek’ or ‘additional to’ the vaars.</span></span></p><p><?"urn:<img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite9" alt=":eek:" title="Eek! :eek:" loading="lazy" data-shortname=":eek:" />ffice<img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite9" alt=":eek:" title="Eek! :eek:" loading="lazy" data-shortname=":eek:" />ffice" /><o<img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite7" alt=":p" title="Stick Out Tongue :p" loading="lazy" data-shortname=":p" />> </o<img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite7" alt=":p" title="Stick Out Tongue :p" loading="lazy" data-shortname=":p" />></p><p><span style="font-family: 'Calibri'"><span style="font-size: 12px">Except for Asa Di Vaar, where first Guruji himself designated his own and second Guru ji’s saloks for each of the 24 pauris, for other Vaars it was fifth Guru ji at the time of the compilation of SGGS that the Saloks were attached to each pauri. Even so, there were many saloks, composed by all the first five Gurujis that remained and were placed in the section ‘Salok Vaaraan te Vadheek’ near the end of SGGS. </span></span></p><p><span style="font-family: 'Calibri'"><span style="font-size: 12px">It may be noted that Chhakka’s were attached to the Pauris in Asa Di Vaar at a later stage. Originally, like the rest of the 21 Vaars there were only Pauris and Saloks. It was the singers at some later stage that Chhakkas were attached to the Saloks and Pauris when the first Panj Granthi was brought into existence for the convenience of the Sikhs for Nitenm, Keertan, or ready reference purposes. In SGGS we see the Chhakkas in the appropriate place in the Chhant part of the Raag Asa for fourth Guru ji’s bani.</span></span></p><p><span style="font-family: 'Calibri'"><span style="font-size: 12px">Originally, singers used to sing only the pauris in Dhadi style while the saloks were recited without singing. In fact this is the folk style even today where in between the singing the leader of the Dhadi Jatha relates events or gives comments just as the Saloks serve similar purposes. The designation of the vaar style such as ‘Tundey Us Raje Ki Dhuni’ for each Vaar was done at the suggestion of sixth Guru ji for each Vaar and these Dhunis or tune names were added in the SGGS manuscript at a later stage.</span></span></p><p><span style="font-family: 'Calibri'"><span style="font-size: 12px">Now, the question of the Raag for each Vaar and how does it fit in with singing Pauris that is folk style. I strongly believe that it is not only the classical style of Indian music that uses the discipline of classical raags. The folk tunes such as Vaar can also adopt a raag easily. In fact it is much easier in the case of a folk tune. </span></span></p><p><span style="font-family: 'Calibri'"><span style="font-size: 12px">The discipline of each classical Raag depends mainly on the identity of notes employed out of seven notes Sa, Re, Gaa, Maa, Paa, Dhaa, and Nee (none or some of these may be prohibited for a particular Raag). The other part of the Raag discipline depends on the rule as to which of the allowed notes are to be used while moving towards higher pitch and which ones while coming back towards the lower pitch end. The longer the sentence of the song to be sung, the more complicated and difficult the Raag redention of the singing becomes. However, the folk tunes use very few of the notes, may be four or five and the variations and complications are few. Hence, singing in folk style using the prescribed notes of a Raag is much easier and effective at higher pitched notes often the Vaar is sung in. The point is that it is wrong to assume that a Indian classical raag cannot be employed to sing a folk composition. I can sing a pauri in the Dhadi style using either Raag Asa, Todi, or other quite comfortably and effectively using a sarangi, a violin, or harmonium for that matter.</span></span></p><p><span style="font-family: 'Calibri'"><span style="font-size: 12px">Humbly</span></span></p><p><span style="font-family: 'Calibri'"><span style="font-size: 12px">Serjinder Singh</span></span></p></blockquote><p></p>
[QUOTE="Serjinder Singh, post: 181219, member: 13216"] [FONT=Calibri][SIZE=3]A ‘vaar is a folk singing style that was sung by ‘Dhadis’ using basically ‘Dhud’, a small hand-held drum played using fingers of one hand hitting the side of the drum while the other hand works on a chord wrapped around the tightening strings of the drum to modulate the pitch and tone of the sound of each stroke. The singers are called Dhadis because their basic instrument is the Dhud drum. The other important instrument that is invariably employed to accompany is ‘Sarangi’. The composition that is sung consists of ‘Pauris’. A vaar is always fundamentally a collections of ‘Pauris’ to be sung. Apart from the 22 Vaars in Sri Guru Granth Sahib, one for each raag, even Japuji Sahib is also a Vaar. In old times the Japuji was also called ‘Nirankar di Vaar’.[/SIZE][/FONT] [FONT=Calibri][SIZE=3]In between the singing of pauris, the Dhadis verbally recite saloks that are not sung in any raag but simply recited generally as introduction or commentary, or some other objective. But saloks are not to be sung. That is why we don’t see Freed’s salok given any Raag indication. Same is the case with the Bhog Saloks of ninth Guru ji. Similarly, there is no Raag indication for the group of saloks near the end known as ‘Salok Vaaraan te Vadheek’ (meaning those saloks that could not be added to the pauris of the 22 Vaars and hence are ‘Vadheek’ or ‘additional to’ the vaars.[/SIZE][/FONT] <?"urn::office:office" /><o:p>[FONT=Calibri][SIZE=3] [/SIZE][/FONT]</o:p> [FONT=Calibri][SIZE=3]Except for Asa Di Vaar, where first Guruji himself designated his own and second Guru ji’s saloks for each of the 24 pauris, for other Vaars it was fifth Guru ji at the time of the compilation of SGGS that the Saloks were attached to each pauri. Even so, there were many saloks, composed by all the first five Gurujis that remained and were placed in the section ‘Salok Vaaraan te Vadheek’ near the end of SGGS. [/SIZE][/FONT] [FONT=Calibri][SIZE=3]It may be noted that Chhakka’s were attached to the Pauris in Asa Di Vaar at a later stage. Originally, like the rest of the 21 Vaars there were only Pauris and Saloks. It was the singers at some later stage that Chhakkas were attached to the Saloks and Pauris when the first Panj Granthi was brought into existence for the convenience of the Sikhs for Nitenm, Keertan, or ready reference purposes. In SGGS we see the Chhakkas in the appropriate place in the Chhant part of the Raag Asa for fourth Guru ji’s bani.[/SIZE][/FONT] [FONT=Calibri][SIZE=3]Originally, singers used to sing only the pauris in Dhadi style while the saloks were recited without singing. In fact this is the folk style even today where in between the singing the leader of the Dhadi Jatha relates events or gives comments just as the Saloks serve similar purposes. The designation of the vaar style such as ‘Tundey Us Raje Ki Dhuni’ for each Vaar was done at the suggestion of sixth Guru ji for each Vaar and these Dhunis or tune names were added in the SGGS manuscript at a later stage.[/SIZE][/FONT] [FONT=Calibri][SIZE=3]Now, the question of the Raag for each Vaar and how does it fit in with singing Pauris that is folk style. I strongly believe that it is not only the classical style of Indian music that uses the discipline of classical raags. The folk tunes such as Vaar can also adopt a raag easily. In fact it is much easier in the case of a folk tune. [/SIZE][/FONT] [FONT=Calibri][SIZE=3]The discipline of each classical Raag depends mainly on the identity of notes employed out of seven notes Sa, Re, Gaa, Maa, Paa, Dhaa, and Nee (none or some of these may be prohibited for a particular Raag). The other part of the Raag discipline depends on the rule as to which of the allowed notes are to be used while moving towards higher pitch and which ones while coming back towards the lower pitch end. The longer the sentence of the song to be sung, the more complicated and difficult the Raag redention of the singing becomes. However, the folk tunes use very few of the notes, may be four or five and the variations and complications are few. Hence, singing in folk style using the prescribed notes of a Raag is much easier and effective at higher pitched notes often the Vaar is sung in. The point is that it is wrong to assume that a Indian classical raag cannot be employed to sing a folk composition. I can sing a pauri in the Dhadi style using either Raag Asa, Todi, or other quite comfortably and effectively using a sarangi, a violin, or harmonium for that matter.[/SIZE][/FONT] [FONT=Calibri][SIZE=3]Humbly[/SIZE][/FONT] [FONT=Calibri][SIZE=3]Serjinder Singh[/SIZE][/FONT] [/QUOTE]
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Guru Granth Sahib
Aasaa Di Vaar
Aasaa Di Vaar To First Pauri: Āpīnĥai āp Sāji▫o / ਆਪੀਨ੍ਹ੍ਹੈ ਆਪੁ ਸਾਜਿਓ
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