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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="Ambarsaria" data-source="post: 199569" data-attributes="member: 14194"><p>I feel little distraught that well respected members are making a mockery of this thread. Let us review,</p><p></p><p><a href="http://www.sikhphilosophy.net/members/japjisahib04.html" target="_blank"><strong>1. </strong> <span style="color: darkviolet"><strong>japjisahib04</strong></span></a> ji has made it routine to post one liners by stating that he only posts one liners based on his full understanding of the whole shabad. So now somehow we are starting to create classes where the have's can bend the rules by not posting shabds and the rest are require or feel obliged to do so. I have respect for japjisahib04 ji but I believe his mode leaves some need for reflection and perhaps correction.</p><p></p><p><strong>2. Tejwant Singh ji </strong>keep forcing people to either admit something or keep asking that he pends his answer waiting other person's response. Great deal is made in terms of the less than normal Sikhs who "parrot", to coin the phrase, parts of Sri Guru Granth Sahib Ji. Can anyone tell me what they do when they do the nitnem including some learned members here? One has to assume that such learned members have long time ago fully understood the meanings of such nitnem banis. So when the so called "simran" group emphasizes parts of such practice in the context other than Sikh Reht Maryada, the repetition of parts of bani becomes useless "parroting". What is the message in the way bani and shabads are associated with various raags or composition techniques? Was there a reason for it or Guru ji did it for no reason. Could it be possible that the message is conveyed more if you come to be in the state of mind of the composer in all aspects including rhythms, nuances, environs as well as literal and metaphoric uses of composition. I don't believe somehow the so called "understanding versus parroting group" can claim a higher pedestal. I personally don't follow many repetitive bani modes and at times have thought that it was of little use. However as we learn with every passing day, I have come to more of a non-condescending view on this object.</p><p></p><p>As we all know, the raag part of the Sri Guru Granth Sahib Ji is assumed understood as it is not explicitly written as in western symphonies and the like. So question for arm chair criticizers of so called parroting is, what do they get out of non oral symphonic works of Mozart, Beethoven, and the like?</p><p></p><p>I am simply requesting that we continue to learn to explore what others are seeing, hearing and feeling that we may not be at times. It is easier said than done, I am as guilty if not more than the next person, but I am trying to rid myself of it. </p><p></p><p><iframe src="//www.youtube.com/embed/_eLU5W1vc8Y?feature=player_detailpage" allowfullscreen="" frameborder="0" height="360" width="640"></iframe></p><p></p><p>Let us think.</p><p></p><p>Sat Sri Akal.</p><p></p><p><strong>PS:</strong> I mentioned some big spn names but I did so as only the big have more capacity to take challenges. No bad intentions just noting.</p></blockquote><p></p>
[QUOTE="Ambarsaria, post: 199569, member: 14194"] I feel little distraught that well respected members are making a mockery of this thread. Let us review, [URL="http://www.sikhphilosophy.net/members/japjisahib04.html"][B]1. [/B] [COLOR=darkviolet][B]japjisahib04[/B][/COLOR][/URL] ji has made it routine to post one liners by stating that he only posts one liners based on his full understanding of the whole shabad. So now somehow we are starting to create classes where the have's can bend the rules by not posting shabds and the rest are require or feel obliged to do so. I have respect for japjisahib04 ji but I believe his mode leaves some need for reflection and perhaps correction. [B]2. Tejwant Singh ji [/B]keep forcing people to either admit something or keep asking that he pends his answer waiting other person's response. Great deal is made in terms of the less than normal Sikhs who "parrot", to coin the phrase, parts of Sri Guru Granth Sahib Ji. Can anyone tell me what they do when they do the nitnem including some learned members here? One has to assume that such learned members have long time ago fully understood the meanings of such nitnem banis. So when the so called "simran" group emphasizes parts of such practice in the context other than Sikh Reht Maryada, the repetition of parts of bani becomes useless "parroting". What is the message in the way bani and shabads are associated with various raags or composition techniques? Was there a reason for it or Guru ji did it for no reason. Could it be possible that the message is conveyed more if you come to be in the state of mind of the composer in all aspects including rhythms, nuances, environs as well as literal and metaphoric uses of composition. I don't believe somehow the so called "understanding versus parroting group" can claim a higher pedestal. I personally don't follow many repetitive bani modes and at times have thought that it was of little use. However as we learn with every passing day, I have come to more of a non-condescending view on this object. As we all know, the raag part of the Sri Guru Granth Sahib Ji is assumed understood as it is not explicitly written as in western symphonies and the like. So question for arm chair criticizers of so called parroting is, what do they get out of non oral symphonic works of Mozart, Beethoven, and the like? I am simply requesting that we continue to learn to explore what others are seeing, hearing and feeling that we may not be at times. It is easier said than done, I am as guilty if not more than the next person, but I am trying to rid myself of it. <iframe src="//www.youtube.com/embed/_eLU5W1vc8Y?feature=player_detailpage" allowfullscreen="" frameborder="0" height="360" width="640"></iframe> Let us think. Sat Sri Akal. [B]PS:[/B] I mentioned some big spn names but I did so as only the big have more capacity to take challenges. No bad intentions just noting. [/QUOTE]
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