☀️ JOIN SPN MOBILE
Forums
New posts
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
What's new
New posts
New media
New media comments
New resources
Latest activity
Videos
New media
New comments
Library
Latest reviews
Donate
Log in
Register
What's new
New posts
Menu
Log in
Register
Install the app
Install
Welcome to all New Sikh Philosophy Network Forums!
Explore Sikh Sikhi Sikhism...
Sign up
Log in
Social Lounge
Language, Arts & Culture
Videos
Sant Siphahi - Tigerstyle - Wonderful Song
JavaScript is disabled. For a better experience, please enable JavaScript in your browser before proceeding.
You are using an out of date browser. It may not display this or other websites correctly.
You should upgrade or use an
alternative browser
.
Reply to thread
Message
<blockquote data-quote="Kanwaljit.Singh" data-source="post: 165829" data-attributes="member: 14616"><p>I may be wrong, but music has different effects too!</p><p> </p><p></p><p> </p><p>The raags of Gurbani have a calming effect, which is what mind needs. I am sorry I don't think RnB or Rock would calm your mind. And I feel it is a bit of ego, if we try and deviate from the Raags and mix music of different themes with Gurbani.</p><p> </p><p>As an example, listen to this rendition of Gurbani and tell me if it doesn't encapture your heart and soul:</p><p><a href="http://www.youtube.com/watch?v=0rDozI9mako" target="_blank">Nahi {censored} Re Baba Raam Naam - Professor Kartar Singh - Live Sri Harmandir Sahib - YouTube</a></p><p> </p><p>It is OK to use western instruments as long as you can add the soothing sounds which come with Gurbani. Anyone trying band baaja and sing Gurbani is making a mess of things. And it is not so uncommon to use band baja along with Gurbani in today's nagar kirtans. They shout and shriek, thinking they are taking it to next level, no one listens or absorbs what is being said.</p><p> </p><p>More points:</p><p> </p><p>Source <a href="http://www.sikhiwiki.org/index.php/Raga" target="_blank">http://www.sikhiwiki.org/index.php/Raga</a></p><p> </p><p><strong><em>Moods and feelings</em></strong></p><p><em>A raag creates an atmosphere which is associated with particular feelings and sentiments. If Bhairav has the serenity of early dawn, Darbari has the splendour of midnight. Bhupali can never be associated with mirth and fun whereas Bageshri is more suited for a lighthearted romantic mood. The Raagmala paintings of Rajasthan depict beautifully the underlying 'ras' or mood expressed by every raag.</em></p><p><em>In the time cycle , you first have raags based on 'komal swaras', what we call the flat notes. In all the komal swar raags you ( Bhairav, Gunkali), you have one thing in common: the note rishabh and dhaivat. The fourth note, madhyam, is also a komal swar, but it is used in teevra swar (sharp) when singing the twilight raags after sunset to define the change in mood between the two hours before sunrise and after sunset. So, with the subtle change in one note, the entire mood of the raag changes. All these twilight melodies called Sandhiprakash raags in our musical terminology, covey a certain pathos, a certain yearning. These are followed by the raags of the first quarter of the morning and night, such as Todi, Asavari, and then the midday and midnight raags.</em></p></blockquote><p></p>
[QUOTE="Kanwaljit.Singh, post: 165829, member: 14616"] I may be wrong, but music has different effects too! The raags of Gurbani have a calming effect, which is what mind needs. I am sorry I don't think RnB or Rock would calm your mind. And I feel it is a bit of ego, if we try and deviate from the Raags and mix music of different themes with Gurbani. As an example, listen to this rendition of Gurbani and tell me if it doesn't encapture your heart and soul: [url="http://www.youtube.com/watch?v=0rDozI9mako"]Nahi {censored} Re Baba Raam Naam - Professor Kartar Singh - Live Sri Harmandir Sahib - YouTube[/url] It is OK to use western instruments as long as you can add the soothing sounds which come with Gurbani. Anyone trying band baaja and sing Gurbani is making a mess of things. And it is not so uncommon to use band baja along with Gurbani in today's nagar kirtans. They shout and shriek, thinking they are taking it to next level, no one listens or absorbs what is being said. More points: Source [URL]http://www.sikhiwiki.org/index.php/Raga[/URL] [B][I]Moods and feelings[/I][/B] [I]A raag creates an atmosphere which is associated with particular feelings and sentiments. If Bhairav has the serenity of early dawn, Darbari has the splendour of midnight. Bhupali can never be associated with mirth and fun whereas Bageshri is more suited for a lighthearted romantic mood. The Raagmala paintings of Rajasthan depict beautifully the underlying 'ras' or mood expressed by every raag.[/I] [I]In the time cycle , you first have raags based on 'komal swaras', what we call the flat notes. In all the komal swar raags you ( Bhairav, Gunkali), you have one thing in common: the note rishabh and dhaivat. The fourth note, madhyam, is also a komal swar, but it is used in teevra swar (sharp) when singing the twilight raags after sunset to define the change in mood between the two hours before sunrise and after sunset. So, with the subtle change in one note, the entire mood of the raag changes. All these twilight melodies called Sandhiprakash raags in our musical terminology, covey a certain pathos, a certain yearning. These are followed by the raags of the first quarter of the morning and night, such as Todi, Asavari, and then the midday and midnight raags.[/I] [/QUOTE]
Insert quotes…
Verification
Post reply
Social Lounge
Language, Arts & Culture
Videos
Sant Siphahi - Tigerstyle - Wonderful Song
This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register.
By continuing to use this site, you are consenting to our use of cookies.
Accept
Learn more…
Top