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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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<blockquote data-quote="spnadmin" data-source="post: 110938" data-attributes="member: 35"><p>I thought I would copy part of the article in which the dividing issues on the Raagmala are described. The remainder of the article should also be read because it details the Indian musical system, context for a big part of the debate.</p><p></p><p><strong>DIVIDING ISSUE ON RAAGMALA</strong></p><p>There being no indication to this effect in the caption, the authorship of Raagmala has been the subject of controversy; more so the point whether it should form part of the recitation of Gurbani in its entirety (i.e. being included in Sehaj Paath or Akhand Paath bhog/completion). According to The Encyclopaedia of Sikhism, "The composition is not integral to the theme of Sri Guru Granth Sahib Ji, and it has little musicological, instructional or spiritual significance." Yet it is entered in the original volume of the Aad Granth Sahib Ji prepared by Guru Arjan Dev Ji and preserved to this day in descendant family at Kartarpur. </p><p></p><p></p><p></p><p> Raagmala is the last composition in the Kartarpur Beerh. According to Professor Sahib Singh, "the last pages of the Kartarpur Beerh do not suggest, either because of the presence of blank spaces, or scoring out, or obliteration hortal, or otherwise, that there was or could have been the least intention to write these hymns in the Granth. The Mudaavni is on page 973/1. Pages 973/2 and 974/1 are blank, and on page 974/2 is Raagmala. As such, there could never have been the possibility, nor could it ever have been contemplated that these three writings requiring a space of over four pages could have been accommodated on the two blank pages 973/2 and 974/1." </p><p></p><p></p><p></p><p> The puraatan (old) saroops that did or do include Raagmala (like Bhai Banno Beerh) also included other compositions after Mundaavni (but before Raagmala), such as: (i) Jit Dar Lakh Mohammada, (ii) Siahi Di Bhidhi, (iii) Ratanmala, (iv) Hakeekatrah mukam, (v) Praan Sangli, (vi) Rab Mukam Ki Sabk, (vii) Baye Atisb (16 saloks) etc. All seven of these compositions that existed after Mundaavni (but before Raagmala) were all unanimously discredited by the Panth and it was acknowledged that mischievous individuals had over time included these compositions at the end of Sri Guru Granth Sahib Ji but had no standing against Gurbani.</p><p></p><p></p><p> View photographs of puraatan granths with these discredited compositions written in them:</p><p></p><p><a href="http://www.tapoban.org/forum/read.php?1,2205" target="_blank">Tapoban.org :: Gurdwara Tapoban Sahib :: raagmala</a></p><p></p><p> Maha-Kavi Santokh Singh (1787-1843), the famous historian that is most quoted by Kathavachiks (preachers), writes in 'Sri Gur Partaap Sooraj Granth' (pages 430-431):</p><p></p><p>ਲਿਖੇ ਸਮਸਤ ਸਵੈਯੇ ਸੋਅੂ, ਸ੍ਰੀ ਗ੍ਰੰਥ ਸਾਹਿਬ ਕੇ ਮਾਂਹਿ ।</p><p>ਅੰਤ ਸਰਬ ਕੇ ਲਿਖਿ ਮੁੰਦਾਵਣੀ, ਮੁੰਦ੍ਰਿਤ ਮੁਹਰ ਲਗੀ ਜਨੁ ਵਾਹਿ ।</p><p>ਭੋਗ ਸਕਲ ਬਾਣੀ ਕੋ ਪਾਯਹੁ, ਮਹਿਮਾ ਜਿਸ ਕੀ ਕਹੀ ਨਾ ਜਾਇ ।</p><p>ਭਵਜਲ ਭੈਰਵ ਕੋ ਜਹਾਜ ਬਜ਼, ਪ੍ਰਭੂ ਕ੍ਰਿਪਾ ਤੇ ਪਾਰ ਪਰਾਇ ॥੩੯॥</p><p></p><p>"Then Guru Ji wrote all the Svaiyye in Sri Guru Granth Sahib Ji. In the end (Guru Ji) wrote Mundavani as a seal indicating that Gurbani is no longer after this seal. One cannot measure the great spiritual benefit of reading a complete reading of whole of Baani. Siri Guru Granth Sahib Ji is the ship to get across the this ocean of world. By the great grace of God this ship has been sent to this world and by his grace alone one can get onto this ship. ||39||</p><p></p><p></p><p> ਰਾਗਮਾਲ ਸ਼੍ਰੀ ਗੁਰ ਕੀ ਕ੍ਰਿਤ ਨਿਹਂ, ਹੈ ਮੁੰਦਾਵਣੀ ਲਗਿ ਗੁਰ ਬੈਨ ।</p><p>ਇਸ ਮਹਿਂ ਨਿਹਂ ਸੰਸੈ ਕੁਛ ਕਰੀਅਹਿ, ਜੇ ਸੰਸੈ ਅਵਿਲੋਕਹੁ ਨੈਨ ।</p><p>ਮਾਧਵ ਨਲ ਆਲਮ ਕਿਵ ਕੀਨਸਿ, ਤਿਸ ਮਹਿਂ ਨ੍ਰਿਤਕਾਰੀ ਕਹਿ ਤੈਨ ।</p><p>ਰਾਗ ਰਾਗਨੀ ਨਾਮ ਗਿਨੇ ਤਿਹਂ, ਯਾਂ ਤੇ ਸ਼੍ਰੀ ਅਰਜਨ ਕ੍ਰਿਤ ਹੈ ਨ ॥੪੦॥</p><p>"Raagmala is not Baani of Guru Sahib. Only up to Mundaavni is Gurbani; don’t doubt this statement and don’t let any cloud of doubt come in front of your eyes. A book named Maadhavaanal was written by Poet Aalam, this Raagmala is part of that book (the Niratkaari chapter of it. Niratkaari means dance. Raagmala appears in the scene when Kaam Kandhala the dancer dances and sings a song in front of the king while Madhavnal watches and plays instruments). Aalam Kavi has written the names of Raags and Raagnis that were sung at that time. Therefore, this baani is not the work of Siri Guru Arjan Dev Ji.||40||"</p><p></p><p></p><p> Kavi Santokh Singh writes that "Ragmala is not authored by the Guru" and that the author of the composition is "Aalam." Based on Sanskrit and Praakrit books, poet Aalam is a contemporary of Emperor Akbar, in 1640 Bk. He wrote the book Maadhavaanal Katha in Hindi. This has 353 verses and most of it is Chaupai style. This story was first very famous in Gujarat and so, after Akbar had conquered Gujarat, he had it translated into Hindi. Aalam has hinted at this in the start of his work. </p><p></p><p></p><p></p><p> <strong>According to Dr. S. S. Kapoor, the Sikh scholars differ in their opinion about its inclusion in the Granth. The traditional school thinks it to be a part of Sri Granth Sahib Ji and asserts that it is an index of the raags used in Sri Granth Sahib Ji. This argument can be challenged on the grounds that a number of raags mentioned Raagmala are not in Sri Granth Sahib Ji and a number of raags used in Sri Granth Sahib Ji are not in the Raagmala. Another argument of the traditional schools that it is a part of the original copy and is written in the same ink and with the same pen as was used for the other parts of the Granth. This plea also does not carry any weight as in those days all the scribes used almost the same ink and the same type of pen. As the writing of the Gurmukhi characters was also the same so it becomes rather difficult to identify the handwriting. It is said by the modern scholars that it was Bhai Banno who might have been instrumental in its inclusion (along with other compositions that are considered 'kachi bani') in the Granth as he had the possession of the original copy of the Granth when he took it to Lahore for binding. </strong></p><p></p><p></p><p></p><p> The only place where Raagmala is not read at the end of a Paatth is probably Sri Akaal Takhat Sahib at Amritsar. Raagmala comes after Mundaavni - the SEAL. This also puts doubts on its inclusion as nothing should come after the SEAL, which means the end. In absence of any final decision by the Sikh scholars the Raagmala is included in every copy of Sri Guru Granth Sahib Ji.</p></blockquote><p></p>
[QUOTE="spnadmin, post: 110938, member: 35"] I thought I would copy part of the article in which the dividing issues on the Raagmala are described. The remainder of the article should also be read because it details the Indian musical system, context for a big part of the debate. [B]DIVIDING ISSUE ON RAAGMALA[/B] There being no indication to this effect in the caption, the authorship of Raagmala has been the subject of controversy; more so the point whether it should form part of the recitation of Gurbani in its entirety (i.e. being included in Sehaj Paath or Akhand Paath bhog/completion). According to The Encyclopaedia of Sikhism, "The composition is not integral to the theme of Sri Guru Granth Sahib Ji, and it has little musicological, instructional or spiritual significance." Yet it is entered in the original volume of the Aad Granth Sahib Ji prepared by Guru Arjan Dev Ji and preserved to this day in descendant family at Kartarpur. Raagmala is the last composition in the Kartarpur Beerh. According to Professor Sahib Singh, "the last pages of the Kartarpur Beerh do not suggest, either because of the presence of blank spaces, or scoring out, or obliteration hortal, or otherwise, that there was or could have been the least intention to write these hymns in the Granth. The Mudaavni is on page 973/1. Pages 973/2 and 974/1 are blank, and on page 974/2 is Raagmala. As such, there could never have been the possibility, nor could it ever have been contemplated that these three writings requiring a space of over four pages could have been accommodated on the two blank pages 973/2 and 974/1." The puraatan (old) saroops that did or do include Raagmala (like Bhai Banno Beerh) also included other compositions after Mundaavni (but before Raagmala), such as: (i) Jit Dar Lakh Mohammada, (ii) Siahi Di Bhidhi, (iii) Ratanmala, (iv) Hakeekatrah mukam, (v) Praan Sangli, (vi) Rab Mukam Ki Sabk, (vii) Baye Atisb (16 saloks) etc. All seven of these compositions that existed after Mundaavni (but before Raagmala) were all unanimously discredited by the Panth and it was acknowledged that mischievous individuals had over time included these compositions at the end of Sri Guru Granth Sahib Ji but had no standing against Gurbani. View photographs of puraatan granths with these discredited compositions written in them: [URL="http://www.tapoban.org/forum/read.php?1,2205"]Tapoban.org :: Gurdwara Tapoban Sahib :: raagmala[/URL] Maha-Kavi Santokh Singh (1787-1843), the famous historian that is most quoted by Kathavachiks (preachers), writes in 'Sri Gur Partaap Sooraj Granth' (pages 430-431): ਲਿਖੇ ਸਮਸਤ ਸਵੈਯੇ ਸੋਅੂ, ਸ੍ਰੀ ਗ੍ਰੰਥ ਸਾਹਿਬ ਕੇ ਮਾਂਹਿ । ਅੰਤ ਸਰਬ ਕੇ ਲਿਖਿ ਮੁੰਦਾਵਣੀ, ਮੁੰਦ੍ਰਿਤ ਮੁਹਰ ਲਗੀ ਜਨੁ ਵਾਹਿ । ਭੋਗ ਸਕਲ ਬਾਣੀ ਕੋ ਪਾਯਹੁ, ਮਹਿਮਾ ਜਿਸ ਕੀ ਕਹੀ ਨਾ ਜਾਇ । ਭਵਜਲ ਭੈਰਵ ਕੋ ਜਹਾਜ ਬਜ਼, ਪ੍ਰਭੂ ਕ੍ਰਿਪਾ ਤੇ ਪਾਰ ਪਰਾਇ ॥੩੯॥ "Then Guru Ji wrote all the Svaiyye in Sri Guru Granth Sahib Ji. In the end (Guru Ji) wrote Mundavani as a seal indicating that Gurbani is no longer after this seal. One cannot measure the great spiritual benefit of reading a complete reading of whole of Baani. Siri Guru Granth Sahib Ji is the ship to get across the this ocean of world. By the great grace of God this ship has been sent to this world and by his grace alone one can get onto this ship. ||39|| ਰਾਗਮਾਲ ਸ਼੍ਰੀ ਗੁਰ ਕੀ ਕ੍ਰਿਤ ਨਿਹਂ, ਹੈ ਮੁੰਦਾਵਣੀ ਲਗਿ ਗੁਰ ਬੈਨ । ਇਸ ਮਹਿਂ ਨਿਹਂ ਸੰਸੈ ਕੁਛ ਕਰੀਅਹਿ, ਜੇ ਸੰਸੈ ਅਵਿਲੋਕਹੁ ਨੈਨ । ਮਾਧਵ ਨਲ ਆਲਮ ਕਿਵ ਕੀਨਸਿ, ਤਿਸ ਮਹਿਂ ਨ੍ਰਿਤਕਾਰੀ ਕਹਿ ਤੈਨ । ਰਾਗ ਰਾਗਨੀ ਨਾਮ ਗਿਨੇ ਤਿਹਂ, ਯਾਂ ਤੇ ਸ਼੍ਰੀ ਅਰਜਨ ਕ੍ਰਿਤ ਹੈ ਨ ॥੪੦॥ "Raagmala is not Baani of Guru Sahib. Only up to Mundaavni is Gurbani; don’t doubt this statement and don’t let any cloud of doubt come in front of your eyes. A book named Maadhavaanal was written by Poet Aalam, this Raagmala is part of that book (the Niratkaari chapter of it. Niratkaari means dance. Raagmala appears in the scene when Kaam Kandhala the dancer dances and sings a song in front of the king while Madhavnal watches and plays instruments). Aalam Kavi has written the names of Raags and Raagnis that were sung at that time. Therefore, this baani is not the work of Siri Guru Arjan Dev Ji.||40||" Kavi Santokh Singh writes that "Ragmala is not authored by the Guru" and that the author of the composition is "Aalam." Based on Sanskrit and Praakrit books, poet Aalam is a contemporary of Emperor Akbar, in 1640 Bk. He wrote the book Maadhavaanal Katha in Hindi. This has 353 verses and most of it is Chaupai style. This story was first very famous in Gujarat and so, after Akbar had conquered Gujarat, he had it translated into Hindi. Aalam has hinted at this in the start of his work. [B]According to Dr. S. S. Kapoor, the Sikh scholars differ in their opinion about its inclusion in the Granth. The traditional school thinks it to be a part of Sri Granth Sahib Ji and asserts that it is an index of the raags used in Sri Granth Sahib Ji. This argument can be challenged on the grounds that a number of raags mentioned Raagmala are not in Sri Granth Sahib Ji and a number of raags used in Sri Granth Sahib Ji are not in the Raagmala. Another argument of the traditional schools that it is a part of the original copy and is written in the same ink and with the same pen as was used for the other parts of the Granth. This plea also does not carry any weight as in those days all the scribes used almost the same ink and the same type of pen. As the writing of the Gurmukhi characters was also the same so it becomes rather difficult to identify the handwriting. It is said by the modern scholars that it was Bhai Banno who might have been instrumental in its inclusion (along with other compositions that are considered 'kachi bani') in the Granth as he had the possession of the original copy of the Granth when he took it to Lahore for binding. [/B] The only place where Raagmala is not read at the end of a Paatth is probably Sri Akaal Takhat Sahib at Amritsar. Raagmala comes after Mundaavni - the SEAL. This also puts doubts on its inclusion as nothing should come after the SEAL, which means the end. In absence of any final decision by the Sikh scholars the Raagmala is included in every copy of Sri Guru Granth Sahib Ji. [/QUOTE]
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