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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="Gyani Jarnail Singh" data-source="post: 162006" data-attributes="member: 189"><p>When Guru Ji was in Human Form...Guru Ji sat on a raised stage in sangat..hymns of Gurbani were sung - at first by Guru Ji and Bhai mardana Ji, then perhaps by Guur Ji and Sangat members with talent in musical instruments...and later by Bards like bhai Satta Ji Bhai balwand Ji...and then following a "strike" by the Bards due to a minor misunderstanding Guur Arjun ji sahib once again REITERATED that ALL SIKHS should ideally learn how to perform KIRTAN and Kirtan was then done by Guru Ji and the sangat when earlier they had depended on the professional singers Satta/balwand.</p><p></p><p>(Side note on this "strike" by Satta Balwand Ji...As i said earleir these two were professional Muslim Bards same as Bhai mardana ji earlier. They performed Kirtan in the presence of Guru Arjun ji sahib in sangat. One had a daughter who came of marriageable age and a date was set. They approached Guru Ji for Financial aid..and Guru Ji gave them the entire Goluck collection of that day. But they wnated more and so went home and sulked. When they didnt come for Kirtan the next day, Guru Ji sent some sikhs to go call them. They refused. Then Guru Ji sent Bhai Gurdass Ji and Baba Budha Ji and a few more very prominent sikhs to persuade the ragis..but instead of coming the ragis became abusive and even stated that the Guur would soon "know" how much their Melodious kirtan was the factor in the goluck...soon the goluck would deplete so much the Guur would come to his senses and realize their real value...the guru is GURU simply due to their melodious voices and musical skills. The Sikhs reported this back to Guru Ji Sahib. Guru ji then himself decided to go to the Satta balwand house to persuade them personally. Instead they even insulted GURU NANAK JI sahib and the previous Guru sahibaans....declaring that even Guru nanak ji was nothing without Bhai mardaana Jis Kirtan. Guru Arjun Ji replied that He can take any insult but an insult to Guru nanak ji is unforgiveable and If thats the way they prefer then so be it....we will dispense with profesisonal Ragis and the sangats will do kirtan together. The days began to go by...and contrary to expectations no one else came to request the ragis to return. Soon they realised their folly...as their income declined badly and they returned to poverty. Then they went looking for a Sikh to intercede with Guur Ji on their behalf...but no one wanted that "job" as everyone had come to know of the abuse and insults they had heaped on Guur nanak ji and the previous Gurus.To cut the story short...finally one kind Sikh accepted to go and intercede with Guru Ji on their behalf. Guru Ji..being the All forgiving kind soul that he was..of course forgave them...and thats when they SANG their self composed Satta balwand Vaar in Raag Ramkali PRAISING GURU NANAK JI and the FOUR successor GURU SAHIBS. The very same Guru sahibs that they had so recently INSULTED !!.)</p><p>Historically the DARBAR SAHIB has been the SEAT of PIRI and thus ONLY GURBANI form SGGS has been sung as KIRTAN in its premises. The AKAL TAKHAT area just OUTSIDE has been accepted as the SEAT of MIRI..and this palce was where the DHADEE VAARS were SUNG. Here i may add that the VAARS in SGGS are ALL "MIRI + PIRI " and they have been composed to Popular Folk TUNES of the day..the DHUNNS..example: Vaar Asa Ki..is in Raag Asa but the Tune DHUNN for the Vaar is a Popular Folk Tune of a Vaar called TUNDEH rajah Asrajah Ki...a folk tale of a Raja that was one armed.. Since this FOLK TUNE was already very popular..Guru Ji has commanded that we read Vaar asa Ki according to this TUNE. ( This seems to NEGATE the argument some have put forward against singing KIRTAN according to..say.......Popular Bollywood Tunes ?? or some Popular music from I-Tunes ??...why NOT ?? Guru Ji accepted the TUNDAH ASRAJAH BALLAD TUNE...and various other FOLKLORE TUNES of the DAY due to their POPULARITY and being on everyones lips ?? And these folklores have nothing particularly of religious/dharmik colours either..... Also NOTE that Guru Ji composed GURBANI along the POPULAR SOCIALLY ACCEPTED rasmo/rivaaj..Rituals practised in the Day..as GHORRIAN (wedding songs sung when the Groom rides a mare )..allahnniah (songs sung at time of sadness..death....I take this to mean that GURU JI was actually PROVIDING humanity/Society with a SPIRITUAL ALTERNATIVE....the Ghorriahn sung normally are down to earth good fun and human feelings..while the GURBANI GHORRIAHN sung to the same tunes are SPIRITUAL LESSONS...I have heard many so called "purists" argue that IF a Gurbani Shabad is sung to the tune of a Bollywood song..then the listening sangat's MIND will automatically go to the SONG ?? IN Guur Jis day..wouldnt this same argument apply ?? Vaar raag Aas Ki SUNG to the Tundah Asrajah Dhunn....wouldnt the listener's MIND go to the STORY/FOLKLORE about the Tundah Raja..and stray from the Gurbani ?? Did Guru ji consider that point ?? and is it valid ?? I think Guru ji did consider it and its NOT VALID. A WEAK MIND..doesnt even need a "tune" to WANDER OFF...even IF the Ragis are singing in Pakka raag ..many listeners may indeed be busy mentally already "watching" the latest Bollywood film anyway...and wondering when the Guru ka Langgar will open and they can eat and depart !!...and whether the tickets will be sold out by then ??...and a STRONG MIND..can be seated in a cinema and be watching Shah Rukh Khna prancing to the latest bollywood tune..and still be attached to a Gurbani Shabad heard back at the Gurdwaara sung to the same tune...?????????????? possible ?? definitely.</p><p></p><p>2. Gurdwara STAGE vs KIRTAN STAGE.</p><p>From as far back as I can remember all Gurdwaras have had two STAGES. ( MOST Historical Gurdawras/Takhats have only KIRTAN STAGE ...thats why the MANJI SAHIB STAGE in Darbar sahib complex and other historical gurdawras takhats are used for POLITICAL/DHADEE/KAVITA Competitions etc etc ). The "Stage" used by the Stage Secretary....that is used to address the snagat by a STANDING SPEAKER..is used for almost anything..except KIRTAN. Here the Gurdwara managemnnt cna appeal for donations, make announcements...programmes...kavis can get up and read their poems, lekhs..dhadees can sing songs etc etc. During a wedding the MC stands there...</p><p></p><p>2. In the Darbar sahib example..the SGGS can and is taken to Manji Sahib/Akal takhat etc...where the STAGE for announcements dhadees etc is present as is the kirtan Stage...BUT the Vice versa CANNOT happen. A "announcement stage" cannot be set up inside the Darbar sahib..there ONLY the NIROL KIRTAN takes place - NO Katha even. DITTO for the other Takhats and Historical Gurdwaras.</p><p></p><p>Note" Veer Ambarsariah ji is being kind to me..his knowledge and way of presenting the truth is very much after my own style...sometimes better than mine..definitely better.</p></blockquote><p></p>
[QUOTE="Gyani Jarnail Singh, post: 162006, member: 189"] When Guru Ji was in Human Form...Guru Ji sat on a raised stage in sangat..hymns of Gurbani were sung - at first by Guru Ji and Bhai mardana Ji, then perhaps by Guur Ji and Sangat members with talent in musical instruments...and later by Bards like bhai Satta Ji Bhai balwand Ji...and then following a "strike" by the Bards due to a minor misunderstanding Guur Arjun ji sahib once again REITERATED that ALL SIKHS should ideally learn how to perform KIRTAN and Kirtan was then done by Guru Ji and the sangat when earlier they had depended on the professional singers Satta/balwand. (Side note on this "strike" by Satta Balwand Ji...As i said earleir these two were professional Muslim Bards same as Bhai mardana ji earlier. They performed Kirtan in the presence of Guru Arjun ji sahib in sangat. One had a daughter who came of marriageable age and a date was set. They approached Guru Ji for Financial aid..and Guru Ji gave them the entire Goluck collection of that day. But they wnated more and so went home and sulked. When they didnt come for Kirtan the next day, Guru Ji sent some sikhs to go call them. They refused. Then Guru Ji sent Bhai Gurdass Ji and Baba Budha Ji and a few more very prominent sikhs to persuade the ragis..but instead of coming the ragis became abusive and even stated that the Guur would soon "know" how much their Melodious kirtan was the factor in the goluck...soon the goluck would deplete so much the Guur would come to his senses and realize their real value...the guru is GURU simply due to their melodious voices and musical skills. The Sikhs reported this back to Guru Ji Sahib. Guru ji then himself decided to go to the Satta balwand house to persuade them personally. Instead they even insulted GURU NANAK JI sahib and the previous Guru sahibaans....declaring that even Guru nanak ji was nothing without Bhai mardaana Jis Kirtan. Guru Arjun Ji replied that He can take any insult but an insult to Guru nanak ji is unforgiveable and If thats the way they prefer then so be it....we will dispense with profesisonal Ragis and the sangats will do kirtan together. The days began to go by...and contrary to expectations no one else came to request the ragis to return. Soon they realised their folly...as their income declined badly and they returned to poverty. Then they went looking for a Sikh to intercede with Guur Ji on their behalf...but no one wanted that "job" as everyone had come to know of the abuse and insults they had heaped on Guur nanak ji and the previous Gurus.To cut the story short...finally one kind Sikh accepted to go and intercede with Guru Ji on their behalf. Guru Ji..being the All forgiving kind soul that he was..of course forgave them...and thats when they SANG their self composed Satta balwand Vaar in Raag Ramkali PRAISING GURU NANAK JI and the FOUR successor GURU SAHIBS. The very same Guru sahibs that they had so recently INSULTED !!.) Historically the DARBAR SAHIB has been the SEAT of PIRI and thus ONLY GURBANI form SGGS has been sung as KIRTAN in its premises. The AKAL TAKHAT area just OUTSIDE has been accepted as the SEAT of MIRI..and this palce was where the DHADEE VAARS were SUNG. Here i may add that the VAARS in SGGS are ALL "MIRI + PIRI " and they have been composed to Popular Folk TUNES of the day..the DHUNNS..example: Vaar Asa Ki..is in Raag Asa but the Tune DHUNN for the Vaar is a Popular Folk Tune of a Vaar called TUNDEH rajah Asrajah Ki...a folk tale of a Raja that was one armed.. Since this FOLK TUNE was already very popular..Guru Ji has commanded that we read Vaar asa Ki according to this TUNE. ( This seems to NEGATE the argument some have put forward against singing KIRTAN according to..say.......Popular Bollywood Tunes ?? or some Popular music from I-Tunes ??...why NOT ?? Guru Ji accepted the TUNDAH ASRAJAH BALLAD TUNE...and various other FOLKLORE TUNES of the DAY due to their POPULARITY and being on everyones lips ?? And these folklores have nothing particularly of religious/dharmik colours either..... Also NOTE that Guru Ji composed GURBANI along the POPULAR SOCIALLY ACCEPTED rasmo/rivaaj..Rituals practised in the Day..as GHORRIAN (wedding songs sung when the Groom rides a mare )..allahnniah (songs sung at time of sadness..death....I take this to mean that GURU JI was actually PROVIDING humanity/Society with a SPIRITUAL ALTERNATIVE....the Ghorriahn sung normally are down to earth good fun and human feelings..while the GURBANI GHORRIAHN sung to the same tunes are SPIRITUAL LESSONS...I have heard many so called "purists" argue that IF a Gurbani Shabad is sung to the tune of a Bollywood song..then the listening sangat's MIND will automatically go to the SONG ?? IN Guur Jis day..wouldnt this same argument apply ?? Vaar raag Aas Ki SUNG to the Tundah Asrajah Dhunn....wouldnt the listener's MIND go to the STORY/FOLKLORE about the Tundah Raja..and stray from the Gurbani ?? Did Guru ji consider that point ?? and is it valid ?? I think Guru ji did consider it and its NOT VALID. A WEAK MIND..doesnt even need a "tune" to WANDER OFF...even IF the Ragis are singing in Pakka raag ..many listeners may indeed be busy mentally already "watching" the latest Bollywood film anyway...and wondering when the Guru ka Langgar will open and they can eat and depart !!...and whether the tickets will be sold out by then ??...and a STRONG MIND..can be seated in a cinema and be watching Shah Rukh Khna prancing to the latest bollywood tune..and still be attached to a Gurbani Shabad heard back at the Gurdwaara sung to the same tune...?????????????? possible ?? definitely. 2. Gurdwara STAGE vs KIRTAN STAGE. From as far back as I can remember all Gurdwaras have had two STAGES. ( MOST Historical Gurdawras/Takhats have only KIRTAN STAGE ...thats why the MANJI SAHIB STAGE in Darbar sahib complex and other historical gurdawras takhats are used for POLITICAL/DHADEE/KAVITA Competitions etc etc ). The "Stage" used by the Stage Secretary....that is used to address the snagat by a STANDING SPEAKER..is used for almost anything..except KIRTAN. Here the Gurdwara managemnnt cna appeal for donations, make announcements...programmes...kavis can get up and read their poems, lekhs..dhadees can sing songs etc etc. During a wedding the MC stands there... 2. In the Darbar sahib example..the SGGS can and is taken to Manji Sahib/Akal takhat etc...where the STAGE for announcements dhadees etc is present as is the kirtan Stage...BUT the Vice versa CANNOT happen. A "announcement stage" cannot be set up inside the Darbar sahib..there ONLY the NIROL KIRTAN takes place - NO Katha even. DITTO for the other Takhats and Historical Gurdwaras. Note" Veer Ambarsariah ji is being kind to me..his knowledge and way of presenting the truth is very much after my own style...sometimes better than mine..definitely better. [/QUOTE]
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