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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
Sidh Gosht
Sidh Gosht - An Alternative Translation
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<blockquote data-quote="spnadmin" data-source="post: 144521" data-attributes="member: 35"><p>Guru Nanak wrote Sidh Gosht using a musical device that is both ancient and effective at engaging an audience in the narration of a story that has an important message. This format is like a Q and A, it is named, Call and Response/Return. It is used in religious music worldwide even today.</p><p></p><p>So I don't understand what your point is seekr3k. Call and response is in fact an ancient form that causes very dynamic feelings in the audience. Many a folk song east and west has been so written. It has the effect of drawing the listener into the song itself, often to the point of answering the question (the Response) once the performer sings it (the Call).</p><p></p><p>Example from a medieval English tune,"Lord Randall."</p><p></p><p><em>The call: Where have you been Lord Randall my son? O where have you been my handsome young man?</em></p><p><em></em></p><p><em>Response: I have been to the wild wood Mother, O make my bed soon for I'm wearing with hunting and would soon lie down. </em></p><p></p><p>People who know the song know also that suspense will build. Lord Randall tells his mother he has visited a beautiful and treacherous woman, and the audience knows where things are headed. The story builds and the mother several stanzas asks,</p><p></p><p><em>The call: What had you for dinner Lord Randall my son? What had you for dinner my handsome young man?</em></p><p><em></em></p><p><em>Response: Eels boiled in brew, Mother, O, make my bed soon. For I fear I've been poisoned and soon would lie down. The audience could not wait to get to sing this part.</em></p><p></p><p>Similarly, in the days of Guru Sahiban, an intimate relationship with the shabads and high participation by sangat was more common than today. We can get a little taste of it from listening to kirtan by Sant Sujjan Singh. He uses the same call and response format. Even when the raag does not call for it. So findingmyway is not off base by reconsidering Sidh Gosht for us in this manner. We are invited to listen to the question, wait for the answer, and with time and practice, answer the question aloud, or silently, for we have internalized the message, in part because of the enthusiasm that is created by the call and response.</p><p></p><p>This is a great way to invite people to learn Gurbani. I also want to add that no matter what the literary skills Guru Nanak used to make Sidd Gosht come alive for sangat, it has next to no relevance to what findingmyway is attempting: a translation that captures the vitality of the metaphors of Guru Nanak.</p></blockquote><p></p>
[QUOTE="spnadmin, post: 144521, member: 35"] Guru Nanak wrote Sidh Gosht using a musical device that is both ancient and effective at engaging an audience in the narration of a story that has an important message. This format is like a Q and A, it is named, Call and Response/Return. It is used in religious music worldwide even today. So I don't understand what your point is seekr3k. Call and response is in fact an ancient form that causes very dynamic feelings in the audience. Many a folk song east and west has been so written. It has the effect of drawing the listener into the song itself, often to the point of answering the question (the Response) once the performer sings it (the Call). Example from a medieval English tune,"Lord Randall." [I]The call: Where have you been Lord Randall my son? O where have you been my handsome young man? Response: I have been to the wild wood Mother, O make my bed soon for I'm wearing with hunting and would soon lie down. [/I] People who know the song know also that suspense will build. Lord Randall tells his mother he has visited a beautiful and treacherous woman, and the audience knows where things are headed. The story builds and the mother several stanzas asks, [I]The call: What had you for dinner Lord Randall my son? What had you for dinner my handsome young man? Response: Eels boiled in brew, Mother, O, make my bed soon. For I fear I've been poisoned and soon would lie down. The audience could not wait to get to sing this part.[/I] Similarly, in the days of Guru Sahiban, an intimate relationship with the shabads and high participation by sangat was more common than today. We can get a little taste of it from listening to kirtan by Sant Sujjan Singh. He uses the same call and response format. Even when the raag does not call for it. So findingmyway is not off base by reconsidering Sidh Gosht for us in this manner. We are invited to listen to the question, wait for the answer, and with time and practice, answer the question aloud, or silently, for we have internalized the message, in part because of the enthusiasm that is created by the call and response. This is a great way to invite people to learn Gurbani. I also want to add that no matter what the literary skills Guru Nanak used to make Sidd Gosht come alive for sangat, it has next to no relevance to what findingmyway is attempting: a translation that captures the vitality of the metaphors of Guru Nanak. [/QUOTE]
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Guru Granth Sahib
Sidh Gosht
Sidh Gosht - An Alternative Translation
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