Shabad Kirtan Recitation based on raags only???

[Ideal Singh]

Guru jee himself is not supporting RAAGS. It’s a different concept behind why SGGS is in RAAGS, not all SGGS is in RAAGS there are lot of banis without RAAGS what about them ex: Jap Sahib(also known as Japjee Sahib).

What is that different concept we talking about...?

[CRITICAL singh]

Truth Singh Ji and IDEAL Singh Ji,

First of all can you tell why Jabjee Sahib is not supposed to be recited in RAAG, veer jee not only japjee sahib but there are at least 16 -17 banis which don’t have RAAG heading example “salok sehshriteeâ€,â€Phune mehl 5â€,â€salok kabeer jeeâ€, “salok shek Fareed jeeâ€â€¦â€¦.

Veer jee please don’t think I am saying anything against RAAGS. The only thing I want to point out here which I said ("It's a different concept behind why SGGS is in Raags.") is RAAG is a tool to attract sangat. Say I go to Gurudwara after my work(and so many things in my mind) and there is a Raagi singing Keertan in a melodious voice using Raags as soon as I sit in Gurudwara my mind slowly stops wandering and I try to concentrate, immediately after a 15 minutes of keertan someone explains the Shabad which was been sung for say 1 hour (Which is really what we should do dont just keep on singing) also said by Gurujee:

satgur no sabh ko vaykh-daa jaytaa jagat sansaar.

All the living beings of the world behold the True Guru.

dithai mukat na hova-ee jichar sabad na karay veechaar.

One is not liberated by merely seeing Him, unless one contemplates the Word of His Shabad.

[jad tak asi shabad nu vicharde nahi mukti nahi ho sakdi])

So veer we should just not stick to singing in RAAGS we should do the vichar of shabad been sung and try to understand what message Guru jee wants to convey and try to walk on that.

A short story once there was a group of parrots sitting on tree one old(bujurg) parrot told the group to repeat “shikari aaega post(like hafeem) payega jaal wich pakad ke le jaega†and the group of parrots started repeating it the shikari(hunter) came us ne post paye parrots ne khadi and shikari ne group of parrots nu pakad lya still the parrots are singing “shikari aaega post(like hafeem) payega jaal wich pakad ke le jaega†that means the parrots were just singing so do we keep on singing in good RAAGS and spend our precious time in adjusting the musical instruments but don’t realize that we are also getting trapped/grabbed like those parrots.

[jsb]

Truth Singh Ji and IDEAL Singh Ji,

First of all can you tell why Jabjee Sahib is not supposed to be recited in RAAG, veer jee not only japjee sahib but there are at least 16 -17 banis which don?t have RAAG heading example ?salok sehshritee?,?Phune mehl 5?,?salok kabeer jee?, ?salok shek Fareed jee???.

no one said it shouldn't be..it's just because it was edited by Guru Arjan Dev Ji, when he put "Pavan Guru Paani Pita" at the end.. so it oculdn't be qualifeid under any mahalla..

[Guest]

Where did I say anything about japji sahib?

[Ideal Singh]

it was edited by Guru Arjan Dev Ji, when he put "Pavan Guru Paani Pita" at the end.. so it oculdn't be qualifeid under any mahalla..

JSB could you elaborate more on this for the benefit of a ignorant person like me...

[drawrof]

gurfatehji,

The darbar maryada has changed significantly now to suit the people and community in which everyone is living.

From my knowledge (I'll dig up the sources for you). A darbar would start with a

1) shan- period to create the mood

2) 2 shabads were done in a big taal (ie, chartaal, dhrupadh)

3) katha

4) either a pauri, or 2 shabads in a shoti-taal ..then a pauri.

Now, Singing and doing kirtan is a bhagtee in itself. Raags, when done "shudh" are themselves enlightening and have an effect on you and your soul. They have been preserved in the indian tradition in the most precise and calculative way. The effect of the raag coupled with an understanding of the bani (which should be evident in one's lifestyle and theological approach to the world) should touch the people.

An interesting thought has occured to me, Gurbani (our guru) is nirmol (without blemish)....yet so many of us have so many blemishes, how can say we fully understand or even appreciate gurbani (do you get the gist).

There is so much we take for granted and underplay. These days, anyone who wears a hazuria and a kurta pajama can be a granthi, in guru ji's time, the first granthi of darbar sahib was baba buddha ji (are we even close to that in our living).

I may be linched for saying this, but I believe the history behind each rehitnama etc, should be delved into deeply. My only concern is that a "situational" set of dictates may have been taken out of context by the "hardcore" masses and now, we are creating maryada's which echo everything that guruji was trying to teach us. (Mind you, if an individual has had a personal experience which has strengthened their faith and it seems odd to everyone else, I would not judge or even question the individual, but if it becomes a communal dictate, then I have reservations).

I would also like to make a plea to all my brothers and sisters out there, please look at gurbani and rehitnaamay and everything else in its full context instead of pulling out "one-liners".... guru sahib is a living force, not a set of commandments etched in stone (this being said with no malice or criticism of our judeo-christian brothers/sisters' faith).

har maidan fateh!

[drawrof]

one thing I wanted to point, and this was meant to come at the end of the last message is.....

The FACT that no raag has been prescribed to japji sahib and other baani's is an indication of how important it is to obey the raag nomenclature otherwise.

Another point to note, if raag weren't important, why has raag gauri been coupled with other raags (ie. raag-deepki). I believe deepak was a raag created by tansen (a singer in the court of akbar) who had the ability to light candles with his singing... this is just singing... we read in sukhmani sahib that within simran (remembrance from the heart) all the sidhis, nidhis, and ridhis are found.... well, isn't this an indication in itself?

also asa di vaar has "vaar saloka naal.... ki dhuni"..... hmmm, this in itself indicates to me, at least, that guru sahib wanted these to be sung in the "pristine" form.

all the best

[Ideal Singh]

Why is that over a period of time the Raagz have not been in the fancy of Sikh Sangat...? We give so much stress on our Dress Code and on Rehat Maryadaz and on our Outward Appearance... But when it comes to Gurbani, why dont we take the Raagz so much seriously... Afterall understanding Gurbani is what Sikhism is all about... And if we cant understand the basicz how can we implement it in our life...

Why has this happend that we have drifted away from reciting Gurbani in classical Raagz...?

[tSingh]

Gurfateh

The answer is quite simple.

By undermining the traditional schools of learning, the traditional sources of raag vidya, then you lose that tradition itself.

[Ideal Singh]

SHABAD KIRTAN THE INTERNATIONAL MEDIUM OF COMMUNICATION

by MOONEY SINGH*

The bard from Punjab, When Guru Nanak, the founder of the Sikh Religion, came to bless the world, he chose to do so with the Holy Word set to music. Wherever he went his Divine poems communicated in a relaxed and deeply enriching way whatever the Formless One wanted to say to humankind through his prophet. Audiences were charmed, entranced, and inspired by the unique poet-singer from Punjab. He travelled North, South, East and West throughout India and far beyond, singing in Sant Bhasha the lingua franca of his day, using the terminology of the regions and countries he travelled to, establishing manjis (centres), which served the poor and needy through langar (free common kitchen), provided free accommodation to travellers and were a place of worship where shabad kirtan communicated the Guru’s message and blessings daily. Shabad kirtan cut across all barriers of caste and religious practices. Thus, shabad kirtan is central to Sikh religious worship. Guru’s unique way of presenting the philopsophy of the Word continues to affect the hearts of millions.The Divine IconoclastGuru Nanak was a prophet and a world teacher. He was not an ordinary teacher of other people’s ideas. He was an enlightener with divine inspiration. His word and actions transformed the times and cultures. He did so fearlessly, and when necessary confronted the despotic rulers, always coming out victorious. He was learned in all the scriptures and many languages, but he broke with tradition and sang and wrote in the common tongue of the day, as his message was meant for all, particularly the neglected classes lacking social means and education.For medieval Indian society, this was an act of social revolution. He was challenging the established order and saying that no one class, caste, or group had a sole franchise on Divine wisdom. Religions had become shops bartering the Name of God. Guru Nanak came to stop this exploitation of the common people. His soul-poems shook the consciousness of the age and the subtle tremors are still being felt.In any age the greatest enemies of a prophet are the so-called intellectuals who have a vested interest in maintaining their lofty position in the status quo. In those days Hindu and Muslim priests controlled the lives of the people through their mastery over Sanskrit, Arabic, and Persian texts and scriptures. Sanskrit, the ‘language of the gods’, was not even to be accidently overheard by the lower castes who lived in fear of having molten lead poured down their ‘unholy’ ears. But Guru Nanak had such compassion for the people that he denied himself his high-caste privileges and identified with the lower sections of society. His was a well of wisdom from which anyone could drink.Bees to the honeyHe chose poetry and music as his medium of communication. He and Bhai Mardana, his rabeck musician, went on foot around the ancient world. They passed through dangerous forests and walked across perilous mountains and hot deserts to bring the Divine Word to the hearts of the people. Nanak’s style of preaching is unique among the world prophets. He would simply sit under the cool shade of a tree with his companion and begin to sing to the accompaniment of Mardana’s five-string rabeck. His melodious voice attracted people like bees to the honey. People would come and in the simple gathering and be absorbed in the experience of peace and quiet ecstacy. And they could understand the words of the musical poems, for wherever Nanak went, he used words and concepts that he knew his listeners would relate to. If speaking to yogis he might use Ramkali Raga enjoyed and appreciated for its mood of detachment. When speaking to Muslims he used the Names of God they uttered in their namaz. He travelled in Muslim countries and also wrote and sang in colloquial Persian. He also adapted local folktunes and created ragas like Tukhari. Like any true prophet Guru Nanak came down to the level of the audience and then lifted them up to the highest heights through the power of the Divine Word and music. In the common tongueSubsequently, Guru Nanak’s successors wrote bani in the same manner. Gurus Angad, Amar Das and Ram Das too, wrote simple uplifting bani in the language of the people. By the time of Guru Arjun Dev the Sikh community had developed considerably and had religious congregations in many parts of the country. Guru Arjun, a great scholar, wrote in different dialects as Guru Nanak had done. Later Guru Tegh Bahadur wrote in Brij Bhasha, the most common language of his day and this trend was again followed by Guru Gobind Singh. Thus Sri Guru Granth Sahib and the writings of the Tenth Guru combined with bhagat bani have been described as a treasury of medieval Indian languages, but more importantly they are songs for all people, not simply the learned.This multi-lingual, inter-faith text evolved according to the time, place, and level of understanding of its listeners. It speaks to all in the most universal terms about the experience of the One Formless Reality. It was always meant to be a universal scripture accessible to all. However, it is the least translated and known world scripture. Even the name Guru Nanak is hardly known outside India. The challenge of translationIn all world faiths, teams of scholars jointly go about the translation of the sacred books. They work together usually according to their area of specialisation. So far, there are four translations of Sri Guru Granth Sahib in English. Each has its plus points and drawbacks, and now there is a translation available in French. Those noble scholars who laboured intensely have served the Guru’s purpose well. These have all been independent efforts without the direct sponsorship of the Panth, and are largely the result of a handful of learned individuals, committed to sharing the gift of Gurbani with those who do not know the Gurmukhi language.The twentieth century is unprecedented in the development of communication and technology. It is also unprecedented in the field of literary translation. Literary and religious texts have been translated into every language on the globe. No one believes that the original can ever be replaced and the wise translator knows that every effort at bringing ideas faithfully and stylistically from the mother language into the host language is fraught with difficulties. However, without translation one culture cannot understand the ideas and motivating spiritual passions of another. That understanding in the days of the global village is crucial if the world is to avoid the path of planetary conflagration and establish a new order of humankind founded on mutual respect and a vision of the One Reality behind all shapes and forms.Music — the interfaith languageSikhi is by concept an interfaith dialogue. The cornerstone of its belief is this clear-sighted acknowledgement of the One Reality behind the variety, and its acceptance of all sincere paths to God. It, therefore, occupies a unique place among the family of religions. It can shine a light in an age of religious intolerance because of its committment to selflessly serving others. Indeed, Guru Nanak showed the way towards universal love through his practical life, helping the needy at all times and nourishing them through the power of the Word combined with music. This is a great blessing for Sikhs and non-Sikhs alike, for music is indeed that interfaith language that can create harmony where there is discord, health where there is disease, and enlightenment where there is ignorance. Music is the white horse on which the Shabad-guru rides most regally.Fine efforts have been made to translate Gurbani for reading and study. However, the Guru first attracted his sangat through kirtan. Music in the various ragas appropriate to the time of day, season, or occasion intensifies the intellectual content of the written shabad. Music creates in the listener a field of emotional depth to contemplate within. If reciting the text is sometimes a duty, then listening to the shabad in kirtan form is a joy which strengthens naturally the powers of concentration, preparing it for the experience of simran. Listening to the outer kirtan leads to the inner kirtan.The power of multi-lingual kirtanWhy shouldn’t we also share the universal message of Gurbani in musical translation too, so that non-Indians can understand and appreciate it ? The power of kirtan is so great that singing the original shabad alongside its translation (according to the language of the country where it is being performed) would have a profound impact.These days Westerners have turned their attention to Eastern forms of spirituality. Sikhi as yet is little known, except to a few thousand North American Sikh converts. But there are millions of others who are awakening spiritually but have no clear path to God. Guru Nanak gave us the gift of kirtan. It is the yoga of Sikhi preparing us for the Guru-given gift of simran. Music is the great bridge that can bring the Guru’s blessings into the lives of all kinds of races and into world culture.Such kirtan delivering the shabad and its translation in the same raga could truly bring the Guru’s message to the larger world, while still preserving the radiant conscious energy. In Western countries a new category of music has emerged which is called ‘World Music’. It takes music from its ethnic setting and mixes it with contemporary instruments and ideas. Such exponents, like Australia’s Dya Singh Group, have brought Gurbani before thousands of Westerners who now are at least aware of the Sikh religion. World Music has become very popular amongst those who are looking back to traditional forms of music for spiritual sustenance. Secular music has its place, but Gurbani is devotional by concept and not a mere entertainment. Its purity must be maintained and not watered down in any interfaith setting. Guru Nanak gave his blessings to the world through the simplest and most direct medium — words set to music. His intention was to reach out to the masses, not just the select few. Would it serve Guru’s purpose, if Gurbani remains untranslated and unsung, for shabad kirtan can only be fully enjoyed by those who understand it ?Is Gurmukhi becoming a dead language ?Translation is also a crucial factor in propagating the Guru’s Word to the next generation. These days, young Punjabi Sikhs are losing touch with Gurmukhi, the linguistic fountainhead (well-spring) of their heritage. This is particularly the case in foreign countries where Sikhs have settled. Most do not understand what the ragis are singing. People tend to go to the gurdwara out of habit and custom, but young people who have the heart for rebellion coupled with increased educational opportunities are honest enough not to be hypocritical when they don’t feel spiritual light shinning on them. Thus, due to the lack of inspiration, dearth of positive spiritual role models, and absence of the knowledge of their mother-tongue, they are drifting and drowning in the electronic sea of the urban world’s cultural glare, which is only committed to satisfying the materialistic desires of the moment. Thus, by the young, Gurbani is often perceived as being archaic and old-fashioned. This perhaps is the fate of language generally. Linguistic history shows that ancient Greek, Latin, and Sanskrit, became outmoded, dead literary languages. Is Gurmukhi heading in the same direction ?The timeless amrit kirtanFortunately, the institution of Shabad Kirtan with its timeless appeal through music is still the medium of instruction and communication of Sikhi. All religious services centre around singing (kirtan) of Gurbani. It keeps interest fresh in approaching the Guru’s psalms on the page. If the shabad is inscribed in the heart of the listener, one day its innate power will lead him or her toward the deep well of wisdom beneath the text, for Gurbani can never die. It is the storehouse of amrit, supposedly found only in Heaven. In mythology, both gods and demons fought over it to gain immortality, but in the real sense it was Guru Nanak and his successors who brought it to earth and made it available to all people through Sri Guru Granth Sahib. Perhaps now we have to start consciously singing the shabad in a relevant way for those who do not understand it. They will surely be re-inspired to learn Gurmukhi and study Gurbani in the original.Guru Nanak brought down the message from the Divine. Mardana’s rabeck was the musical midwife that gave birth to a tradition of spiritual practice through music. The message of the Guru is a timeless one and for all people regardless of race, language, creed, caste, or culture. Kirtan is the Guru’s gift to the world. Bol Mardania Sat Kartar ! Sing, O Mardana, The Creator is True !

[Ideal Singh]

Indian Classical Music And Sikh Kirtan by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982

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Medieval Period (A.D. 1200-1800)

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During the thirteenth century Sarangdev (1210-1247) wrote a scholarly manual of music called Sangeet Ratnakar, in which he brought up-to-date the musical development of the centuries right from Bharata onwards. He explained different musical modes and terms and vocal techniques of sharaj grama and madhyam grama. He divided the octave into 22 equal interval called shruties.

Then came the Muslim invaders from outside the frontiers of North India. Generally they did not take kindly to music, though some of the Muslim rulers patronise professional singers in their courts. However, Sufi mystics and some unorthodox Muslims continued to have a soft spot in their hearts of music. One of the notable musicians in the court of King Allauddin Khiliji was Amir Khusro (1253-1325) who composed a number of songs in praise of his religious preceptor, Hazrat Nizamuddin Aulya. He introduced new forms of music like khayal, taran and qawali, and new talas like farodast,jhoomra, pahalwan and theka-qawali. He also developed new instruments like the sitar and dhol.

In the fifteenth century, Kavi Lochan wrote an important treatise called Raga Tirangani. This is considered a reputed work on Hindustani music. He divided the existing ragas under twelve scales (thath). Swami Haridas, the saint-musician of Brindaban, was reputed singer of Dhrupad

and he taught Tansen and Bajju Bawra. Another great musician and parton of singers with Raja Mansingh Tomar (1486-1516) of Gwalior who was an expert in dhrupad style and also made certain variations in classical ragas.

During this period, Indian music branched off into two main channels, following roughly the geographical division of the northern and southern parts of the country. The music of North India was called Hindustani Sangeet and that of South India was called Karnatak Sangeet. At this time the Bhakti movement (love-worship of God) gathered momentum and devotional music became very popular. Kabir (1440-1518),Tulsidas, Soordas and Chaitanaya Mahaprabhu (1486-1533) composed many bhajans (hymnal composition) which were sung in homes and temples. The Sikh Gurus (1469-1708) composed hundreds of hymns called Shabads to be sung in classical ragas. This sacred music called Gurmat Sangeet or Kirtan has a beauty and fervour of its own. The catholic classical music to the ethos of devotional poetry. They also used the elements of folk music to inspire the masses towards holy living and meditation on divinity. Part II of this book deals with the characteristics and contents of Sikh sacred music.

One of the most important musicians of the sixteenth century was Tansen (1506-1589) who was patronised by Emperor Akbar. He enriched the dhrupad style of singing with various flourishes and embellishments. He also introduced some new ragas such as Mian-ki-todi and Darbari Kanra. His direct descendants who played on the rabab were known as Rababigharana and his son-in-law’s descendants who played on the been (veena) were called Beenkar-gharana.

During the seventeenth century Venkatamukhi wrote an important volume on Karnatak music in 1640 entitled Chaturdandi-Prakashka. He devised a scheme of seventy-two parent scales, melas, using all the twelve notes. He furnished a fine exposition of Karnatak music and its prevalent forms.

Hindustani and Karnatak music differ in degree but not in kind. Though some of the ragas in both the systems are the same, there are some others which differ only in nomenclature and articulation. Karnatak music is generally more pure, precise and systemised than Hindustani music. The latter is eclectic, having absorbed the influence of its Muslim singers. It enjoys the freedom of experiment which is its greatest strength. In theme and in practice, it has a flexibility which is rare in Karnatak music. The latter is considerably preoccupied with spiritual and mystic content. Instrumental music in the Karnatak system strictly follows the vocal pattern. There is greater use of drums and mixing of tempo of Karnatak music than in Hindustani music.

However in northern India, the classification of ragas was modified on the rag-ragini pattern. There were six main ragas who had their wives called raginis. The ragas displayed the masculine traits of courage, wonder and anger, while the raginis exhibited feminine qualities of laughter, love and melancholy. This was represented by a family-tree called Ragamala (necklace of garland of ragas). Gangli listed 17 Ragamals in Sanskrit, Hindi and Persian including some anonymous ones [5]. Some of the texts of Ragmals contain pictures of ragas and raginis. Dr. Virsingh mentioned eleven kinds of Ragamals based on Shiva, Bharata, Hanuman and other systems [6]. There is a Ragamala at the end of the Sri Guru Granth Sahib, cataloguing the six raga families, which is quite different from the previous Ragamalas.

Later on, artists created ragmalas which combined music, poetry and painting. These paintings were “visual representations of musical modes (ragas) which were envisioned in divine and human forms by musicians and poets,†Some ragas and raginsis were regarded as human beings with individual characteristics. A raga became a m an with a definite personality, dress and feeling; similarly a raginia was a woman of a certain complexion, dress and emotion. These were called Ragamala miniatures [7] and were done by painters of the Rajput School, Moghul School and Kangra School and can be found exhibited in some of the major art-museums all over the world.

[Niranjana]

please consider the following:-

http://www.sikhe.com/gsdno/articles/keerta...lowandpause.htm

Flow and Pause in Gurbani and Keertan

Amardeep Singh Tue Dec 11

It is important to understand a few terminologies before we proceed further.

rahau - While reading through a shabad in Guru Granth Sahib, we find that one line has the word 'rahau' written at the end. Except for raag Majh, we find the mention of rahau in nearly all the other Bani.

Depending on it's type, for example, Chaupada (of 4 lines), Ashtpadi (of 8 lines), etc., a shabad has that many defined lines. Somewhere in the middle or in the beginning of the shabad one line has the word rahau mentioned with the numeral 1. Rahau means 'wait' or 'pause' in Punjabi - "Therau". The Gurus have clearly indicated that, while reading a shabad, pause on this line.

Why the pause? Because the line with rahau is the central theme of the shabad.

This is the line in which Guru is conveying the topic discussed in the shabad and it contains the Gurmat Vichar, the 'right thought'. Therefore, we are required to pause on this line and contemplate the message. The other lines in the shabad are used to explain/extrapolate the contents of the central theme given in the line of rahau.

These other lines (the non-rahau lines) talk about prevalent practices, arguments, reasoning, intention, etc. and are used for strengthening and explaining the Central Theme.

The point to note is that the numbering of lines is meanigful: the numbering conveys a definitive message. The message here is: Wait/Pause and contemplate on the message. In this line the Guru is telling us the theme of the shabad. The number 1 of rahau indicates, read this line carefully. Now read the other (non-rahau) line, and correlate it to the message in rahau. Now proceed to the other (Non-rahau) line thereby keep proceeding with all the other lines in a sequential manner.

At times, if rarely, we find more than one rahau in a shabad. All the rahaus in that shabad (usually 2,3 or 4) convey the same central theme: reflect on truth. Gurus thought it appropriate to explain the same central theme in different combination of words and therefore gave more than one rahau.

asthai - In Keertan, or any music, we find one line keeps getting repeated time and again. This common line, which is repeated each time after a different line, is known as asthai in Indian classical music, or Chorus in the western music.

antra - In Keertan, or any music, after singing the asthai, the repetitive line, a different line is sung and upon its completion the asthai is sung again and then a second different line is sung, followed by asthai. This changing line is known as antra in Indian classical music.

The purpose of Keertan is to deliver the Gurus' message sweetly to the listener. As rahau has the central theme of the shabad and contains the spiritual message, its usage, as an asthai is repeated time and again after every antra, which helps in the message getting drilled into the listener's mind. The result is that the Guru's message gets delivered many times while the shabad is being sung. This increases the probability of retention of the central theme, Gurmat Vichar, by the listener's mind.

Let us take a very popular shabad from Siri Raag, Page 44, which is sung by raagis during a happy occasion in the family. Most of the Sikhs will remember the shabad by its popularly known line:

"Lakh khushiyaan patshahiyaan

jey satgur nadar karey .........."

It's commonly found that raagis make the above line as the asthai while singing the shabad because of the word khushiyaan (happiness). This line is the second non-rahau line in the shabad and gets commonly used as the asthai while singing.

The English interpretation of the shabad is:

SRI RAAG, MEHLA V: All happiness is achieved only by Thy Grace. The precious gift of this human life becomes fruitful when one chants the True Word. One who has such destiny written on his forehead enters the Mansion of the Lord's Presence through the Guru. || 1 || O my mind, focus your consciousness on the One. Without the One, all involvlements are worthless; emotional attachment to a mirage is verily false. || 1 || Pause || Hundreds of thousands of princely pleasures are yours to enjoy if the True Guru bestows a Glance of Grace. If God bestows the Name of the Lord, even for a moment, my mind and body are soothed. Those who have such pre-ordained destiny hold tight to the Feet of the True Guru. || 2 || Blessed is that moment, and fruitful is that time, when one is in love with the True Lord. Suffering and sorrow do not touch those who have the Support of the Name of the Lord. Grasping the seeker by the arm, the Guru lifts them up and out, and carries them across to the other side. || 3 || Embellished and immaculate is that place where the Saints gather together. That person alone finds shelter who has met the Perfect Guru. Nanak builds his house upon that site where there is no death, no birth, and no old age. || 4 || 6 || 76 ||

If we were to sing this shabad in proper Keertan singing style by making rahau (Mere man eikas sio chit laaye/eikas bin sabh dhund hai/sabh mithiya moh maye) as asthai for repetition, then, upon reaching second antra, the message that will get repetitively delivered to the mind will be that we need to first make an effort to get our mind to focus on One God, give up attachment to maya and emotional entanglements. If we succeed in achieving this state of mind, then, as stated in the second non-rahau line, thousands of pleasures will be attained only if God's Grace falls upon us.

Note that the condition (rahau line to be used as asthai) is that we make the effort to rid our mind of attachment/maya, then the result (non-rahau line to be used as antra) is - if Satguru deems it worth then Satguru provides hundreds of pleasures to the devotee.

Unfortunately, this shabad is commonly sung by raagis by making the non-rahau Line No.2 as the asthai (Lakh khushiyan patshahiyan jey satgur nadar karey....), which gets repeated many a time during the shabad singing. Now see the change in deliverability of the message to our mind. We are seeking from our Guru thousands of pleasures by God's Grace and, upon getting them, we will then strive towards ridding our mind of attachment/maya!

Note that by using the non-rahau line as asthai, the condition has changed to: if Satguru deems it worth, then Satguru provides hundreds of pleasures to us and the result (rahau line being used as antra) is that we will make the effort to rid our mind of attachment/maya!

By using the non-rahau line in this shabad as asthai, our mind is subconsciously being told to live on HOPE, rather than make the EFFORT, which is the reverse of what the Guru is telling us in this shabad, viz.- Devotee first makes the EFFORT and then HOPE should arise for God's Grace.

Interesting, isn't it? We tend to ignore the finer details of Gurus' message, which is so clear.

Probably that's the reason why Sikhs of today lack the spirit/spiritual discipline for which our forefathers were known. I hope people will start making the effort of getting the Sikhs in their immediate contact to understand the importance of rahau in Keertan singing and strive towards singing Keertan in the correct manner.

Those who are active in Gurudwara Management/teaching Keertan should make it a point to teach the youth only those shabads in which rahau is made the asthai. For a teacher to correct what he has already learnt in so many years is a tough proposition, but he can definitely make an effort to select those shabads from his Keertan bank for teaching the youth/children, in which the rahau is made the asthai. In this way, we may be able to slowly steer in the direction of true deliverance.

[tableji]

A simple question, which Bhai Balbir Singh Nihang once asked some Sikhs:

"Why would you want to ignore Guruji's Hukam just to please yourself? Is this not manmat?"

...he was referring to the Hukam being the RAAG mentioned by Guru Maharaj that is placed before most Shabads within Adi Guru Durbar.

Why would Guru maharaj go to such great lengths to arrange Adi Guru Durbar in Raags, and then place the Raag BEFORE the Shabad? Guru Maharaj in some cases even gives more importance to the RAAG by placing it above the Shabad which may contain His OWN name, ie, Nanak.

Would you rather not do something, than end up doing something against Gurmat?

The reason AKJ do not accept or understand the relevance of Raagmala or dont bother paying attention to the Raag is because, bottom line, they HAVE no Raag Vidiya and NO knowledge of Gurmat Sangeet or traditional musical instruments. If they did, then we would not see them using the Vaja (an Italian instrument, not Sikh), or sheney, and their entire kirtan would be sung in Raag.

Its really that simple...the facts, practices and the AKJ multimedia databse speak for themselves

The same can be said for most jathebandis and sikhs on the whole. There are only a few that u can truley say understand and know wot gurmat sangeet is, and how to sing it.

[tableji]

if keertan wasnt meant to be sung in raags? then why is bani separated into them?? Each raag for a certain mood and a certain time??

I mean the gurus didnt just do it randomly, they did it coz thats how its meant to be done.

Dont get me wrong i aint dissing anyones way of doin keertan, because at the end of the day it is a personal choice, all im saying is, take a look at bani and analyse it.

Everything has a reason for being there.

Oh and one other thing, raag mala, how is that sung?? Doesnt have a raag? and it doesnt really flow either like shabads do

[Guest Maha_Pavitar]

Veerji..listen to Bhai Balbir Singh jee's rendition of Raag Mala...it is soul-stirring..

http://www.gurmatveechar.com/audio/Bhai_Ba...h--Raagmala.mp3

[tableji]

wot im gettin at is, it isnt given a raag, so how do u kno wot raag to sing it in?

[tableji]

thanx summeet bhenji, raag is the best!!!!Hes good innit, changing the raags