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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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Concept Of Naam Simran In Gurmat
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<blockquote data-quote="japjisahib04" data-source="post: 11589" data-attributes="member: 971"><p><span style="font-family: 'Arial'"><span style="color: black">Bhai Sahib</span><span style="color: black">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" />></span></span></p><p></p><p><span style="font-family: 'Arial'"><span style="color: black">Fateh</span></span><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></p><p><span style="font-family: 'Arial'"><span style="color: black">The professional Raagis or Keertanias sing Baani most pleasantly but invariably they do not listen to what they are singing.</span></span></p><p></p><p><span style="font-family: 'Arial'"><span style="color: black">Actually, whatever the tongue is reading or reciting, the ears should hear intuitively. We must focus our dhayan on listening and on the word so it becomes awareness. Gurbani state, “gurmukh japiyee laey dhiyana - what we need is dhyaan while chanting.</span></span><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></p><p><span style="color: black"><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" /></span></p><p><span style="font-family: 'Arial'"><span style="color: black">The essence of Keertan lies in effective delivery of the inherent message of the Sabd, using Raag and Taal as a medium. The medium must not dominate the essence. Further if Keertan Dhuni is coming from recesses of soul and where the singer is immersed in the meaning of the Sabd then and then only real keertan is done. Like “Eisa Keertan kar mann meray. eeehaan ohaaan jo naal teray. – Sing in a way that this Keertan accompanies one every where.” – Guru Granth ang.236.4.</span><span style="color: black"> Therefore the bani very forcefully and emphytically says that the gurbani leaves its real impact only if sung in the specific raag of the time. <TT>Remember Gurshabad is Brahm and ‘Antar khohtaa Amrit bhariyaa, Shabadey kaadh pieyh panihari. – deep within the well of heart is filled with Amrit, pull it up and drink it using the boel of Sabd.’ – Guru Granth ang.570.18.</TT></span></span></p><p></p><p><span style="color: black"><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" /></span></p><p><span style="font-family: 'Arial'"><span style="color: black">Gurbani calls praising Akal Purakh by keertan is a priceless diamond and again but path of devotion is with total surrender (from tan, man, dhan). A Gurmukh is a Sewadar who works for others, who socializes. A Gurmukh is concerned with making this world a better place. He is a person with a mission. He sees Akal Purakh in His creation, in the poor, in the needy. It is all Vismaad for him, and he sings Keertan to express that Vismaad and ecstatic love. His Akal Purakh is somewhere there. He loves Him like a mother who loves and yet never uses the artifices of rosary, idol or repetition to love her child. Without keertan a gursikh is dead corpose.<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" />></span></span></p><p></p><p><span style="font-family: 'Arial'"><span style="color: black">Regards Sahni Mohinder</span></span></p></blockquote><p></p>
[QUOTE="japjisahib04, post: 11589, member: 971"] [font=Arial][color=black]Bhai Sahib[/color][color=black]ffice:office" /><O:p></O:p>[/color][/font] [font=Arial][/font] [font=Arial][color=black]Fateh[/color][/font]<O:p</O:p [font=Arial][/font] [font=Arial][color=black]The professional Raagis or Keertanias sing Baani most pleasantly but invariably they do not listen to what they are singing.[/color][/font] [font=Arial][/font] [font=Arial][color=black]Actually, whatever the tongue is reading or reciting, the ears should hear intuitively. We must focus our dhayan on listening and on the word so it becomes awareness. Gurbani state, “gurmukh japiyee laey dhiyana - what we need is dhyaan while chanting.[/color][/font]<O:p</O:p [font=Arial][/font] [color=black]<O:p</O:p[font=Arial][/font][/color] [font=Arial][color=black]The essence of Keertan lies in effective delivery of the inherent message of the Sabd, using Raag and Taal as a medium. The medium must not dominate the essence. Further if Keertan Dhuni is coming from recesses of soul and where the singer is immersed in the meaning of the Sabd then and then only real keertan is done. Like “Eisa Keertan kar mann meray. eeehaan ohaaan jo naal teray. – Sing in a way that this Keertan accompanies one every where.” – Guru Granth ang.236.4.[/color][color=black] Therefore the bani very forcefully and emphytically says that the gurbani leaves its real impact only if sung in the specific raag of the time. <TT>Remember Gurshabad is Brahm and ‘Antar khohtaa Amrit bhariyaa, Shabadey kaadh pieyh panihari. – deep within the well of heart is filled with Amrit, pull it up and drink it using the boel of Sabd.’ – Guru Granth ang.570.18.</TT>[/color][/font] [font=Arial][/font] [color=black]<O:p</O:p[font=Arial][/font][/color] [font=Arial][color=black]Gurbani calls praising Akal Purakh by keertan is a priceless diamond and again but path of devotion is with total surrender (from tan, man, dhan). A Gurmukh is a Sewadar who works for others, who socializes. A Gurmukh is concerned with making this world a better place. He is a person with a mission. He sees Akal Purakh in His creation, in the poor, in the needy. It is all Vismaad for him, and he sings Keertan to express that Vismaad and ecstatic love. His Akal Purakh is somewhere there. He loves Him like a mother who loves and yet never uses the artifices of rosary, idol or repetition to love her child. Without keertan a gursikh is dead corpose.<O:p></O:p>[/color][/font] [font=Arial][/font] [font=Arial][color=black]Regards Sahni Mohinder[/color][/font] [/QUOTE]
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