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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="vsgrewal48895" data-source="post: 117483" data-attributes="member: 8024"><p style="text-align: center"><p style="text-align: center"><span style="font-family: 'Times New Roman'"><strong>RAG M</strong><strong>ALA/</strong></span><strong><span style="font-family: 'Raavi'">ਰਾਗ</span></strong><strong><span style="font-family: 'Raavi'">ਮਾਲਾ</span></strong></p> </p><p></p><p><span style="font-family: 'Times New Roman'"><span style="font-size: 12px">In A.D. 1583, a Mohammedan poet by the name of Alim wrote “Madhva Nal Sangit” describing the love affair of Madhava Nal with his beloved Kam Kandala. This work consisted of 353 stanzas of four to six lines each. Rag Mala in AGGS is a part of the above work from sixty third to seventy second stanzas. The account of this story also appears in the tale 91 of Chirtro Pakhyan of Dasam Granth.</span></span></p><p></p><p><span style="font-family: 'Times New Roman'"><span style="font-size: 12px">AGGS is written in 31 modes of music. The Rag Mala in AGGS describes about 17 of these Raags, Raginis and their subdivisions as sons and daughters of these Ragas. Each Raag is accompanied by five sub-ragas, much like their spouses, along with 8 meters, as their sons, which the musicians sing. By the sunrise they sing, the “Bhairou Raag” along with five more sub-ragas in an accompaniment. First they sing Raag Bhairvi, then Bilawali, second, along with Punia, third, and Bangli, the fourth. Then the fifth sub-raga of Aslekhi, ragini, is sung. These are just the five sub-ragas of Raag Bhairou.</span></span></p><p></p><p><span style="font-family: 'Times New Roman'"><span style="font-size: 12px">Pancham, Harkh and Disakh are sung next, followed by Bangalam and Madhu Ragas. They are all repeated once more along with Bilawal as the eight shoots of Raag Bhairou. Other Ragas follow similarly. The Ragas mentioned here do not correspond to the Ragas in AGGS. It should be understood that:</span></span></p><p></p><p><span style="font-size: 12px"><span style="font-family: 'Times New Roman'"> A. Rag Mala is NOT Gurbani.</span></span></p><p><span style="font-size: 12px"><span style="font-family: 'Times New Roman'"> B. It is not clear how and when it was included in the sacred AGGS.</span></span></p><p></p><p><span style="font-family: 'Times New Roman'"><span style="font-size: 12px">It further raises few questions;</span></span></p><p></p><p></p><ul> <li data-xf-list-type="ul"><span style="font-family: 'Times New Roman'"><span style="font-size: 12px">How many Sikhs know about the number of Raagas used in AGGS?</span></span></li> <li data-xf-list-type="ul"><span style="font-family: 'Times New Roman'"><span style="font-size: 12px">How many Raagis know about these Ragas and sing the Gurbani in the Ragas it is supposed to be sung as written?</span></span></li> <li data-xf-list-type="ul"><span style="font-family: 'Times New Roman'"><span style="font-size: 12px">How does reading it affect one’s spirituality, how ever it educates one about the Ragas IMHO?</span></span></li> <li data-xf-list-type="ul"><span style="font-family: 'Times New Roman'"><span style="font-size: 12px">If Mundavani is the seal placed by Guru Arjan to AGGS then why Guru Gobind Singh broke the seal by adding his father’s Bani and his Sloke # 54 in response to his father’s Sloke # 53 on page 1429 of AGGS.</span></span></li> </ul><p></p><p><span style="font-family: 'Times New Roman'"><span style="font-size: 12px">The above should not be viewed as contentious since the inclusion of Raag Mala has done no harm. On the contrary one learns something about Ragas, through their inclusion and they broaden one’s perspective on music a bit. Hopefully all the Gurbani of AGGS is sung in the modes of music it is written. </span></span></p><p></p><p><span style="font-family: 'Times New Roman'"><span style="font-size: 12px">Virinder</span></span></p></blockquote><p></p>
[QUOTE="vsgrewal48895, post: 117483, member: 8024"] [CENTER][CENTER][FONT=Times New Roman][B]RAG M[/B][B]ALA/[/B][/FONT][B][FONT=Raavi]ਰਾਗ[/FONT][/B][B][FONT=Raavi]ਮਾਲਾ[/FONT][/B][/CENTER] [/CENTER] [FONT=Times New Roman][SIZE=3]In A.D. 1583, a Mohammedan poet by the name of Alim wrote “Madhva Nal Sangit” describing the love affair of Madhava Nal with his beloved Kam Kandala. This work consisted of 353 stanzas of four to six lines each. Rag Mala in AGGS is a part of the above work from sixty third to seventy second stanzas. The account of this story also appears in the tale 91 of Chirtro Pakhyan of Dasam Granth.[/SIZE][/FONT] [FONT=Times New Roman][SIZE=3]AGGS is written in 31 modes of music. The Rag Mala in AGGS describes about 17 of these Raags, Raginis and their subdivisions as sons and daughters of these Ragas. Each Raag is accompanied by five sub-ragas, much like their spouses, along with 8 meters, as their sons, which the musicians sing. By the sunrise they sing, the “Bhairou Raag” along with five more sub-ragas in an accompaniment. First they sing Raag Bhairvi, then Bilawali, second, along with Punia, third, and Bangli, the fourth. Then the fifth sub-raga of Aslekhi, ragini, is sung. These are just the five sub-ragas of Raag Bhairou.[/SIZE][/FONT] [FONT=Times New Roman][SIZE=3]Pancham, Harkh and Disakh are sung next, followed by Bangalam and Madhu Ragas. They are all repeated once more along with Bilawal as the eight shoots of Raag Bhairou. Other Ragas follow similarly. The Ragas mentioned here do not correspond to the Ragas in AGGS. It should be understood that:[/SIZE][/FONT] [SIZE=3][FONT=Times New Roman] A. Rag Mala is NOT Gurbani.[/FONT][/SIZE] [SIZE=3][FONT=Times New Roman] B. It is not clear how and when it was included in the sacred AGGS.[/FONT][/SIZE] [FONT=Times New Roman][SIZE=3]It further raises few questions;[/SIZE][/FONT] [LIST] [*][FONT=Times New Roman][SIZE=3]How many Sikhs know about the number of Raagas used in AGGS?[/SIZE][/FONT] [*][FONT=Times New Roman][SIZE=3]How many Raagis know about these Ragas and sing the Gurbani in the Ragas it is supposed to be sung as written?[/SIZE][/FONT] [*][FONT=Times New Roman][SIZE=3]How does reading it affect one’s spirituality, how ever it educates one about the Ragas IMHO?[/SIZE][/FONT] [*][FONT=Times New Roman][SIZE=3]If Mundavani is the seal placed by Guru Arjan to AGGS then why Guru Gobind Singh broke the seal by adding his father’s Bani and his Sloke # 54 in response to his father’s Sloke # 53 on page 1429 of AGGS.[/SIZE][/FONT] [/LIST] [FONT=Times New Roman][SIZE=3]The above should not be viewed as contentious since the inclusion of Raag Mala has done no harm. On the contrary one learns something about Ragas, through their inclusion and they broaden one’s perspective on music a bit. Hopefully all the Gurbani of AGGS is sung in the modes of music it is written. [/SIZE][/FONT] [FONT=Times New Roman][SIZE=3]Virinder[/SIZE][/FONT] [/QUOTE]
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