I would like to know your experiences of japping this powerful Baani and for this post to serve as a place of knowledge.

What I know from the Maryada required whilst doing bhagti on Bram Kavach

- Amritdhari (If not you have to be living as Gursikh with your thoughts and actions) 

- Full Ishnaan (+kes)

- Wear clean clothes, Ideally Chola with kamarkasa, hazooria

- Wear White/ Blue dastaar 

- Sit on clean blanket (ideally white) 

- Complete Nitnem Baani, then do Mool Mantra Jaap, followed by Bram Kavach, followed by Anand Sahib, and then Ardaas.

- Hold Kirpaan whilst reciting

- Have Jot (Candle) lit, Ideally made from ghee with a cotton/hemp wick

- Ideally have Shastar in kamarkasa/ in elevated position in room

- Optional to have incense stick/ move incense stick around room before jaap to rid air of any air bourn bacteria

- Ideally have sarab loh bowl with paani (water) and ideally have sarab loh bowl with nuts (not required though), you will eat this at the end of the jaap

- Do not fart whilst doing the baani (I think to get the full benefit you have to be strict with your body control, correct me if wrong)

- Before beginning jaap for the next 30 days, do ardaas to Vaheguroo and make bhog/parshaad

- Jaap with absolute focus and practice pronouncing the baani properly 

Please add anything which I have missed as this is what I currently know. I would love to hear your personal experiences and what bhagti of this baani has brought to you. I've heard stories that Shaheed Singhs can be present when japping this baani, similarly to Sukhmani Sahib. That's why the Maryada is the way that it is. I think the aim to do 32 jaaps daily is ideal however if you were to do 1 mala or 6 mala would your experiences be tenfolded?  

Many thanks Sangat Ji, lets spread the knowledge and inspire likeminded souls. 

wahe guru ji 

i am hindu and I want to do sava lakh Govinde mukhande jaap 

main apne Sikh bhaiyo se guru se jodne lyi help maag raha plz mujhe bataeye 

Ragamala

The literal meaning of the word Ragmala is: a chain/necklace (mala) of ragas i.e., a list of ragas. This list differs according to the author and the music school it is based upon. Thus there exists a number of such lists in the music text books.

The Ragamala listed in Guru Granth Sahib belongs to Hanumant school of music. According to Bhai Vir Singh, a Sikh scholar, the ragamala included in Guru Granth Sahib was prepared by Guru Nanak Dev and it contains a list of popular ragas of that period of time. This ragamala must not be read as an index of ragas of Guru Granth Sahib, for it is only a list of popular ragas sung at the time period of Sikh Gurus. Moreover there are ragas mentioned in the Ragamala which are not included in Guru Granth Sahib, and there are ragas used in Guru Granth Sahib which are not mentioned in the Ragamala. In fact the Ragamala included in Guru Granth Sahib is no way related to the ragas used by the Sikh Gurus to compose their hymns. It is just an independent list of ragas based on Hanumant School of music.

It is also important to note that unlike various Schools of Music, there is no mention of raginis (consort of ragas) or their sons in Guru Granth Sahib. There is a mention of 37 ragas. Thirty one ragas refer to 31 chapters in the musical section of Guru Granth Sahib (pages 14 - 1353), and six other ragas mentioned therein have been mixed with the 31 major names used in Guru Granth Sahib.

The following ragas names, which are used as chapter headings, have been used by the Sikh Gurus to compose their hymns:

Sri

Devghandhari

Jaitsiri

Bilawal

Maru

Sarang

Maj

Bihagra

Todi

Gaund

Tukhari

Malhar

Gauri

Wadhans

Berari

Ramkali

Kedara

Kanara

Asa

Sorath

Tilang

Nutnarain

Bhairav

Kalyan

Gujri

Dhanasri

Suhi

Mali Gaura

Basant

Parbhati

Click on a Raag Name for details

Jaijaiwanti

Other six raga names mentioned/used in Guru Granth Sahib are:

* Asawari*

* Lalit*

* Hindol*

* Vibas

* Kafi

* Bhopali

The ragas marked with asterix (*) sign mentioned above are listed in Guru Granth Sahib's ragamala, which has a mention of a total of 64 raga names, including 6 major ragas, 30 raginis and 48 sons of ragas. Thus out of a total of 64 ragas mentioned in the ragamala, the Sikh Gurus have used only 20 (17 major names, and 3 other raga names) ragas and have used 17 (14 major names and 3 other names) other ragas which are not mentioned in the Guru Granth Sahib's ragamala.

Specialist Terminology to understand musical terms used in the following pages.

1. Thaat - The tune of seven ascending and descending notes is called 'Thath oio' ,

* A Thaat must have seven notes out of the twelve notes [seven Shuddha, Four komal (Re, Ga, Dha , Ni), one teevra (Ma) ], placed in an ascending order. Both the forms of the notes can be used.

* Thaat has only an Aaroha.

* Thaats are not sung but the raags produced from the Thaats are sung.

* Thaats are named after the popular raag of that Thaat. For example Bhairavi is a popular raag and the thaat of the raag Bhairavi is named after the raag.

The music books record ten basic thaats:

* Kalyan

* Bilawal

* Khamaj

* Bhairav

* Bhairvi

* Asawari

* Todi

* Poorvi

* Marwa

* Kafi

2. Arohi - The ascending scale (sa re ga ma pa dha ni sa) .This is the pattern of notes in which a Raag ascends the scale.

3. Avrohi - The descending scale (sa ni dha pa ma ga re sa) This is the pattern of notes in which a Raag decends the scale.

4. Vadi - The most popular note ,This is a note which is strongly emphasised within a particular Raag.

5. Samvadi - The second most popular note,This is a note which is emphasised within a particular Raag, but not as much as the Vadi.

6. Aurav - A raga of five notes

7. Khaurav - A raga of six notes

8. Sampooran - A raga of seven notes

9. Aurav-Khaurav - Where arohi has five notes, but avrohi has six notes.

10. Khaurav-Aurav - Where arohi has six notes, but avrohi has five notes.

11. Aurav-Sampooran - Where arohi has five notes, but avrohi has seven notes

12. Khaurav-Sampooran - Where arohi has six notes, but avrohi has seven notes.

13. Sampooran-Aurav - Where arohi has seven notes, but avrohi has five notes.

14. Sampooran-Khaurav- Where arohi has seven notes, but avrohi has six notes.

15. Saptaks - This refers to three divisions of a harmonium

* Mandar - first (top) part of seven notes

* Middle - central part of seven notes

* Tar - last part of seven notes.

16. The notes can be soft (komal) or sharp (teever)

Musical terms regarding a presentation of a raag in vocal style

1.Sthayee : The first part of the composition. Mainly develops in the the lower and the middle octave.

2.Antaraa : Second part of the composition. Develops in the middle or higher note.

3.Mukhadaa : The first line of the composition.

Common Themes of Shabads placed under Raags of Guru Granth Sahib

1. Soohi - Being away from home. The soul being away from the House of Lord and the joy of meeting the true husband.

2. Bilaaval - beautification of soul, happiness.

3. Gaund - Separation, union, surprise.

4. Sri - Maya and detachment

5. Maajh - yearning to merge with Lord, giving up of negative values.

6. Gauri - Principles, serious, thoughtfulness, composed

7. Aasa - Hope

8. Gujri - Prayer (Pooja)

9. Devgandhari - Merging with spouse, self - realization

10. Bihaagra - Yearning due to separation of soul and happiness due to meeting the Lord.

11. Sorath - Merits of God

12. Dhanasari - Mixed theme

13. Jaitsree - Stability

14. Todi - Maya, separation

15. Bairagi - motivation to sing praises of Lord

16. Tilang - many words from the vocabulary of Islamic origins are used, sadness, beautification.

17. Raamkali - to give up the life of a wandering Jogi.

18. Nat Narayan - Joy of meeting the Lord

19. Maali Gaura - Happiness

20. Maaru - Bravery

21. Tukhari - Separation and union with Lord

22. Kedara - Love

23. Bhairav - Man's state of hell

24. Basant - Happiness

25. Sarang - Thirst to meet God

26. Malaar - State of separated and united soul

27. Jaijawanti - Vairaag (Detachment)

28. Kalyaan - Bhakti (Prayer) Ras

29. Vadhans - Vairaag (Detachment)

30. Parbhati - Bhakti (Prayer)

31. Kaanra - Bhakti (Prayer)

Feelings communicated by the music of Raags

1. Soohi - joy and separation

2. Bilaaval - happiness

3. Gaund - strangeness, surprise, beauty

4. Sri - satisfaction and balance

5. Maajh - loss, beautification

6. Gauri - seriousness

7. Aasa - making effort

8. Gujri - satisfaction, softness of heart, sadness

9. Devgandhari - no specific feeling but the Raag has a softness

10. Bihaagra - beautification

11. Sorath - motivation

12. Dhanasari - inspiration, motivation

13. Jaitsree - softness, satisfaction, sadness

14. Todi - this being a flexible Raag it is apt for communicating many feelings

15. Bhairaagi - sadness, (Gurus have, however, used it for the message of Bhakti)

16. Tilang - this is a favourite Raag of Muslims. It denotes feeling of beautification and yearning.

17. Raamkali - calmness

18. Nat Narayan - happiness

19. Maali Gaura - happiness

20. Maaru - giving up of cowardice

21. Tukhari - beautification

22. Kedara - love and beautification

23. Bhairav - seriousness, brings stability of mind

24. Basant - happiness

25. Sarang - sadness

26. Malaar - separation

27. Jaijawanti - viraag

28. Kalyaan - Bhakti Ras

29. Vadhans - vairaag, loss (that is why Alahniya is sung in this Raag when someone passes away)

30. Parbhati - Bhakti and seriousness

31. Kaanra - Bhakti and seriousness

Testing the Time Theory

Indian music assigns each raga to a period of the day, but where lies the origin of this discipline?

By Anthony Peter Westbrook, Maryland

If there is one aspect of the classical music of India that sets it apart from other traditions, it is the theory that establishes a specific period of day for performing each melody form, or raga. "Orthodox musicians in India never play a raga at any other than its proper time," according to the late French musicologist Alain Daniélou, "for at the wrong hour it could never be developed so perfectly nor could it so greatly move an audience." As Walter Kauffman tells us, this is much more than just an aesthetic consideration; it is considered to have an effect on the environment. He writes, "The older generation of Indian musicians in particular still believes that disaster will be invoked if, for instance, an evening raga is performed in the morning or vice versa."

Today this attitude prevails mainly in north Indian, or Hindustani, music. The South Indian, or Carnatic, tradition contains a highly developed theory of ragas and their performance times. "However, in Carnatic music today," writes P. Sambamoorthy, "there is no questioning the fact that the ragas sung during their allotted times sound best, but the time theory of ragas may be said to be only advisory and not mandatory." While this more liberal approach is quite alien to Hindustani music, it points to a lack of any theoretical basis for the time theory, as no ancient or medieval writer on the subject has left us any rational explanation for it. It was left to the late Pandit V.N. Bhatkhande (1860-1936) to systematize the rules generally observed by Indian musicians.

To determine the performance times of each raga, Bhatkhande divided the day into eight praharas or watches, then assigned each raga to a specific prahara according to its underlying tonal characteristics. Each note in a raga has a certain level of importance vis-a-vis the other notes, and these relationships change subtly during the different times of the day.

Each musician learns the various aspects of each raga, including its correct performance time and its rasa, or mood, from his guru. Thus there are literally thousands of subtleties which are learned but not formulated into a single body of theory. And in spite of some differences of opinion, there is a high degree of agreement regarding the correct performance time for most ragas. This is remarkable considering the number of ragas currently in use in north India, as well as the existence of different schools of music, or gharanas. It suggests that at some time in the past some common theoretical framework may have existed as the basis for the time theory. Today, however, there is little clear indication as to the origin of these practices. Scholars, such as Kaufmann, Bonnie Wade, Harold Powers and Emmie Nijenhuis, have suggested origins in the musical aspect of the classic Sanskrit drama, or the ritual chant of the Vedas.

Mukhund Lath of the University of Rajasthan points out that while Bhatkhande's generalizations found great acceptance, no one has ever tried to display and work out the psychophysiological basis for the ragatime connection. Lacking such an empirical or theoretical basis, this unique aspect of Hindustani music is in danger of being compromised. Although the older generation of performers still regard the time theory as a critical aspect of their tradition, others, under the pressure of contemporary concert and recording schedules, are relaxing performance strictures. But if the traditional musicological literature provides no basis for the theory, where else should we look?

Of all the aspects of Vedic literature which deal with cycles of time, ayurveda, the Vedic system of medicine, is one of the most significant, and there appears to be considerable evidence linking it with musical performance in ancient times. Daniélou wrote to me in 1992, "There exists a relation between various scales and the humours of the body. Any one expert in the music therapy of Ayurveda should be able to find out." He quotes Sangeetamakaranda I.2324: "One who sings knowing the proper time remains happy. By singing ragas at the wrong time one ill treats them. Listening to them, one becomes impoverished and sees the length of one's life reduced." The reference to the length of one's life provides another link to ayurveda, which can be rendered as "the science of longevity". Indeed, it does appear possible to correlate the diurnal cycle of the three ayurvedic doshas, vata, pitta and kapha, with the performance times of the ragas. This and other evidence would suggest the existence of an ancient view in which, in the area of health, music has a definite role to play

To all you raag know it alls...

Das Ji Das... would like to ask if anyone knows what colours,, (or for you none brits who stole our language.. and spell everything wrong.. colors) are associated to the raags within Guru Granth Sahib Ji Maharaj.

I remember seeing it in a book once, colours and raags.. or something and it said each raag has an associated colour.. time, feeling, context etc.

I would be extremely greatful if anyone could find out for me..

PS... COLOUR>>> learn to spell or get your own language.. you none ENGLISH ... englishers. VIVA LA QUEEN...

Bhai Kahn Singh Nabha was a expert in Gurmat Sangeet.

Sangeetacharya Bhai Kahan Singh Nabha
by Dr Ravinder Kaur Ravi(Punjabi University ,Patiala)
ISBN-978-81-7599-285-6

This edition was published in 2014 by NAVYUG PUBLISHERS in Delhi.ISBN-978-81-7599-285-6
— 288 pages

Can anyone help ?

Could anyone teach me the power and effects of every 31 Ragas in Guru Granth Sahib Ji.................I mean on the body, spiritual being, and all other spheres........With the grace of GOD I already have the information of all Ragas, their timings, and themes.

das

@Soulfinder

Bhul chuk maaf

(by Cooljit)

Bhai Joginder Singh was born on 19th December 1972 to a family with no music background. At the young age of seven, Joginder Singh witnessed the Kirtan (spiritual music) of Sant Baba Bachittar Singh Ji. He was deeply affected by the Kirtan and begged his parents to take him to the Saint and let him stay at the established boarding school there. Here, Joginder Singh learnt many things. He learnt singing under the guidance of Ustad Bisakha Singh, Pakhavaj under the guidance of Ustad Prem Singh and Tabla under the guidance of Ustad Hardit Singh. As the musical training continued, Joginder Singh was also taught the Sikh spiritual principles of Seva (selfless work) and Simran (meditation), under the guidance of Sant Baba Bachittar Singh. In his locality Joginder Singh became renowned for his amazing ability to learn music quickly and play them with accuracy and speed. Within a few years, Joginder Singh was performing on stage and at the age of 14 he had learnt all that his teachers could give. His tabla teacher Ustad Hardit Singh told him that he had given him all the knowledge he possessed and now it was time for Joginder to go to the best tabla player in India at the time, Ustad Alla Rakha, father of Ustad Zakir Hussain. Therefore in 1985 after taking leave from his spiritual master, Joginder Singh left Jammu and went to Bombay to seek for his new teacher. After much effort, Joginder Singh’s wish was fulfilled and from 1987 to 2000 he spent all of his time learning from Ustad Alla Rakha. After his Ustadji passed away, Bhai Joginder Singh left Bombay and moved to Delhi where he currently runs a school that teaches people of all ages and backgrounds Kirtan and Tabla. Over the years, Joginder Singh has developed his own style of tabla which pays due homage to his masters, yet is unique to itself. It truly has to be heard and seen to be appreciated. He has even been known to use his elbow, his knuckles and even the back of his hand in his tabla repertoire. His life to this day is a tribute to his amazing childhood and encompasses the tabla as a product of his life experience as a perpetual student, a spiritualist, and tabla master.

Here are some video's for you to enjoy.

Peshkaar -

Kaida -

Kaida 2 -

Kaida 3 -

I have found it difficult to find any written information on them, so if anyone comes across any, could you kindly share it.

Bhai Sahib had an amazing and extraordinary voice which no one to date hsa been able to match for uniqueness.

A famous personality who has derived his style of kirtan from Bhai Sahib is Professor Darshan Singh Ji. Although many countless kirtani have tried to follow in Bhai Sahibs style.

Bhai Santa Singh Ji had unique ability to sing in high pitch, continuosly!

Most of their shabd are sung entirely in the tar saptak (highest scale).

It's weird, when you sing along with Bhai Sahib, you think, this is ok, until you realise you are singing one entire scale below them!

Bhai Sahib had beautful and harmonious voice, and mastery of all technical aspects of sangeet, many are not noticed due to their completely effortless renditions of shabd, but look listen close and you will find complex murkhis and intricate meends.

The taals used in combination with the shabd (composition) are also complex, especially when they go into par-taal, its hard to notice when they revert back to the original taal...

Thankfully the vaja is used minimally, and even so is drowned out by Bhai Sahibs magical vocals.

The words could not be any more crystal clear, showing the objective is being kept in mind, i.e. kirtan being presented to Maharaj, and for the benefit of the sangat. This is opposed to some other famous raagis who's words become blurred to due to the style or intoxication of the kirtan.

The pace is also beautiful as it allows the kirtan to be absorbed in meditative pace and and the full effect of the holy words to be felt by the listener.

Unfortunately, the shame is that most is not in nirdaareth raag, but none the less there is still much that can be learnt from Bhai Sahib.

Personally, I find the devotion that exudes from Bhai Sahib inspirational, and am happy to (as always), take the best and leave the rest...

Enjoy.

http://www.ikirtan.com/index.php?q=f&f..._Puratan_Kirtan

http://www.4shared.com/account/home.jsp

Vaheguru

http://gurmatgiangroup.wordpress.com/2009/...brosial-nectar/

Spell Binding compositions by a very, very talented Bibyan da Kirtan Jathaa.

They are the ones who sung the haunting shabds in the recent animation 'Sundri' (Shabds far outclassing the animation - with all due respect).

There is a list of many shabds on the right which you can listen to. Some are Nirdareth raag, some not.

Enjoy.

In the words of Sri Guru Arjan, the love of the lord is the true manifestation of Basant or spring. In the Sri Guru Granth Sahib, our Gurus have often used metaphors, drawn from nature to explain the human condition. Of the 31 Ragas in the Sri Guru Granth Sahib, two Ragas in particular – Basant and Malhar, associated with the changing seasons, are used to express these metaphors.

The references to Basant for instance, are usually about the flowering of the soul; the message is always conveyed with dazzling beauty :

Rut aayeelai saras basant mah

The season of spring, so delightful, has come.

rung ratai ruvoh is teyrai chae

Those imbued with love for You, chant Your Name with joy.

kis pooj charavo lugo payee

Whom else should I worship? At whose feet should I bow? ||1||

One of the enduring traditions in the world of Gurmat Sangeet is the singing of Raga Basant and associated Ragas such as Hindol, Basant Hindol, Bahar, Basant Bahar from the Sangrand of Magh to Hola Mohalla. During this period every Kirtaniya is enjoined to sing Bani in Raga Basant from the Sri Guru Granth Sahib in these Ragas. It is also customary to sing the paudis of Basant Ki Var during this period. This tradition is faithfully followed at Sri Harmandir Sahib even today.

The Bani of the Granth Sahib, written and indexed according to the prescribed Raagas, singing forms, music signs/ headings and the other guidelines issued in the Bani, creates original and specific musicology. A scientific approach to music can help in recognising more explicitly the music tradition according to the Guru Granth Sahib.

Such system of music, enshrined in the Holy Guru Granth Sahib is exactly in accordance with the musical tenets established by the Gurus. What came to be known as Gur Shabad Kirtan is a unique confluence of Shabad and Kirtan propounded by the founder of Sikhism, Guru Nanak with the help of divine music emanating from Bhai Mardana's Rabab. This emerged as a unique system in the Indian and world music traditions. In Bani Gur Shabad, Kirtan has been assigned a very prominent status as stated in the following couplet:

Kaljug meh Keertan Pardhaanaa.

Gurnlukh Japee-ai Laa-e D1liuanaa

(Sri Guru Granth Sahib, Page 1075)

Har Keerat Kaljug pad uttam

har paaiai satgur maajhaa

(Sri Guru Granth Sahib, Page 697)

The Guru Granth Sahib contains Bani of the Gurus in addition to the Bani of contemporary and earlier Saints and Bhagats. The classification of Bani according to Raags makes it clear that the Bani is written in accordance with a particular system as conceived by Guru Arjun Dev the fifth Guru while compiling and editing the Guru Granth Sahib. Beside the Raagas, different classical and folk singing styles, Rahaao and other music signs are those elements of the Gurmat music system which always remain active due to their original musical characteristics and for the presentation of Shabad Kirtan. The Bani under Shabad Kirtan is to be sung according to the prescribed raags, raaga forms, singing styles, music sings, Rahaao, Ank (digit) and so on. Different music elements which discipline Shabad Kirtan, can be known by an independent systematic discussion about them and its functional aspect may become more clear by systematic thought.

The Raaga: The entire Bani of the holy Sri Guru Granth Sahib has been classified under 31 Raagas and 31 different Raaga forms (Parkaars) thus making a total of 62.

Raaga references on the Gurbani as headings are a clear indication for singing any piece of Gurbani according to the prescribed Raaga and that has been ordained in Sikh tradition and fundamentals. Importance of the Raagas has been stated as follows:

Sabhnaan raagaan wich so bhalla

bhaaee jit wasiaa man aaee.

(Sri Guru Granth Sahib, Page 1423)

Dhan su raag surangrhe

aalaapat sabh tikh jaae.

(Sri Guru Granth Sahib, Page 958)

Gunh govind gaavah sabh harijan

raag ratan rasnaa aalaap.

(Sri Guru Granth Sahib, Page 821)

Under the Gurmat Sangeet tradition, Raagas are in propagation with their original melodic forms. Sikh musicians, uninfluenced by the changes in Shudh Thaat notes as Bilawal scales from Kafi scale, kept the traditional purity of Gurmat Sangeet in practical form. As a sequel, a tradition which is more than 500 years old, remains very much in existence as the Sikh musical tradition. These original Raaga forms of Gurmat Sangeet are a unique contribution to Indian music's Raaga tradition.

These Raagas (31 Main and 31 Raaga forms) are Shudh (Siree, Maajh, Gaorhee, Aasaa, Dhanaasree, Soohee, Maaroo, Tookharee, Parbhaatee etc.) Chhayalag (nine Raaga forms of Gaorhee and Aasa Kaafe, Tilang Kafee, Soohee Lalit, Bilawat Mangal, Parbhatee Bibhaas etc.), admixture of two Raagas or including the melodic reflection of any other Raaga, and Sankeeran (Gaorhee, Poorbee, Deepkee), combination of more than two Raagas. Originality of seasonal (Malhaar Basant etc.) and regional (Maajh Aasaa, Tookharee etc) Raagas under Raag forms is another important feature of the Gurmat Sangeet System. With a view to disseminate the divine message to the people, Guru Nanak Sahib toured different places. These travels of Guru Nanak are popularly known as Udasis. During these long travellings (udasis) Guru Nanak Sahib used Raagas belonging to local tradition to propagate his message, of which the Deccani Raaga (Gaorhee Dakhnee, Wadhans Dakhnee, Bilwal Dakhnee, Raawklee Dakhnee, Maaroo Dakhnee, Parbhatee Dakhnee) tradition deserves special mention. Dakhani in word in the Sri Guru Granth indicates the southern music system. In Gurbani, the Raaga Dhyana (Sri Guru Granth Sahib, Page 83, 585, 791, 849, 950, 1027, 1285, 1419, 1425 etc.) of some Raagas have been given with a view to express the nature of different Raagas in their spiritual context according to the Gurmat.

Singing Styles: Bani has different headings alongwith Raagas such as Ashtpadian, Chaupade, Ghorian, Alahllian, Vnnr and the others in the Guru Granth Sahib. Under the Bani arrangement, these forms not only assume poetical forms but specific singing styles and music forms also which have a particular technique. The Gurus have not only used different classical and folk music forms in Buni but these have also been used in conformity with the Gurmat musical system which is based on elements of music like Raagn, Rahaao, Ank and other musical singes. Under this system, classical musical forms have been liberated from the rigorous discipline of the art of music and given an equipoise(Sehaj) by conforming it to the spirit of the Sikh musical system. Similarly spontaneous freedom of folk forms has been given the specific discipline of Gurmat Sangeet.

The Guru Granth Sahib contains Ashtpadi and Partal of classical music and Vaar, Chhand, Ghorian and Alahunian of folk music. Vaar (ballad) singing style has a special place in the folk music. In the Guru Granth Sahib different Vaars under different Raagas have been given a heading of traditional folk musical tunes.

Ank (Digit): In the Guru Granth Sahib, the digits have been marked at different places viz, 1,2,3,4.. etc. as Ank. In addition to the signs like Rahaao, the Bani has been divided through different digits. The line ending with digits (Ank) in a Shabad, provides serial to a Shabad unit. While being helpful in its systematic presentation, it also helps in understanding its meanings. In the presentation of Shabad Kirtan, Rahaao which contains the central idea of the shabad is to be sung as Sthaaee in the beginning and after everv Antra to make the spirit of the Shabad more explicit. The lines containing different similes, illustrations and reasoning etc. are also directed through different digits (Ank). These have to be sung in the fOrIn of Antrus.

Rahaao: Under the Gur Shabad Kirtan tradition, Rahaao has a central and important place. In Rahaao the shabad has its central idea which is to get activated as a centripetal force in the presentation of the Shahad. Literally, Rahaao indicates pause, rest or to be stable (Sahitya Kosh Paribhashik Shabddawali Page 871). In the medieval period system, Prabandha and Dhrupad singing style has one element, Dhruv which is known as Achal. The other name of Dhruv is Rahaao which has been used for singing of Bani. Medieval saints and bhagats or poets have also used Dhruv or 'Tek' for 'Rahaao' in their literary creations. In their works the first couplet is of Tek or Rahaao, while in Gurbani, Rahaao follows the first line or couplet of the Shabad with the mark Rahaao. The particular digits are also found to indicate the number of Rahaao. In certain Shabads, l Rahaao (ik Rahaao), 2 Rahaao (Do Rahaao), Guru Granth Sahib, Page 26-26, Rahaao (Tin Rahaao), 3 Guru Granth Sahib, Page 154, 4 Rahaao (Chaar Rahaao), Guru Granth Sahib, Page 96-97, 899 are also seen.

Under the Gurmat Sangeet Shabad Keertan, Rahaao is taken as Sthaaee and the tradition is to sing it repeatedly after every Antru because the Rahaao line has the central idea of the Shabad while the Antra line resolves the problem by giving argument and evidence. When the problem is resolved and there is a change in thought the Rnhaao line also undergoes a change. If a Shabad has more than one Rahaao the second Rahaao line gets activated after the change in thought of the Shabad. The singing process of Rahaao in a Shabad is as follows:

According to the prescribed recitation system, Rahnno in a Shabad through the repeated singing of its line, is helpful in bringing forth the central idea and confirms the idea and increases its intensity. Rahaao is the central force in a Shabad which is active in the inner texture of the Shabad.

Ghar: Under the Gurmat Sangeet system in addition to the above function of Rahaao, there are other musical signs. In the Guru Granth Sahib for the recitation of Gurmat Sangeet, the next musical sign is that of Ghar. It is written as Ghar ek, Ghar do, Ghar tin. Total number of Ghars in the Guru Granth Sahib is seventeen. Scholars have different views about the concept of Ghar. According to Bhai Kahan Singh Nabha (Gur Shabad Ratnakar Mahan Kosh, Page 441) Ghar has two meanings: a Tala or a kind of Tal, Swar and kinds of Murchanna. According to Bhai Vir Singh, "There are three grams in musical instruments. Grams is constituted of Ghar. So Ghars are based on notes of these three Grams. Ghar indicates the prominent note of the Raaga being sung." (Guru Granth Kosh, Page 302). Majority of the music scholars take Ghar as Tala. This tradition of scholars seems to be influenced by the Persian Tala system where different Gala forms are addressed as Ek Gah, Do Gah, Sih Gah, and Chahar Gah. (Shabadarth Sri Guru Granth Sahib Pothi Pahli S.G.P.C., Page 74) Therefore, it is possible that the Gurus also used Ghar to indicate Tala. It is accepted under the Persian music tradition that Amir Khusro invented 17 Taalas which are almost identical to Hindustani Talas and came to be used in India alongwith Persian names. (Nibandh Sangoot Edi. Lakshmi Narain Garg, Page 557-558) Majority of the scholars accept Ghar as Tala though Ghar is not more in vogue due to fixed scale and time difference. Even then under the Gurbani musical system, Ghar is clearly indicated as a musical sign.

Jati: The heading Jati under Raaga Bilawal is indicated as Bilawal Mahala 1 Thiti Ghar 10 (Sri Guru Granth Sahib, Page 838) Under Indian musical system it is used as Jati. It means stages of rest in continuous tempo. In this regard Bhai Kahan Singh Nabha writes, "Concept of Music is Jati. " (Gur Shabad Ratnakaar Mahan Kosh, Page 502). Dr. Charan Singh wrote in the Guru Granth Bani Beura "Jai, Gat Sath".

4th Rahaaoo/Sthaaee

4th Ank/Antra

3rd Rahaao/Sthaaee

3rd Ank/Antra

2nd Rahaao/Sthaaee

2nd Ank/Anthra

1st Rahaao/Sthaaee

1st Ank/Antra

1st Rahaao/Sthaaee

All the three are combined functions (Kartab) of jorhi (Tabla), while the right hand acts as Gat. When both hands are free and the voice also comes out freely, it is called Karkat, means Sath [sahib Singh (Prof.) Shri Guru Granth Sahib darshan (Pothi Six) Page 229]. Similarly, Jati is related to playing Gat on Jorhi (Tabla).

The above views make it clear that in medieval times, the Band Bol of Tabla were in vogue. Bhai Kahan Singh Nabha's view in this regard seems appropriate. Contemporary musicians define Jati as "when the right hand plays Khulla Bol on Jorhi and left hand plays on Band Bol, such a rhythmic process is called Jati. It is clear from the heading as mentioned in the Guru Granth Sahib that this hymn in Raaga Bilawal is to be sung in the modulation of Ghar 10, with the specific pauses in Jati style and the poetic form/singing style is Thiti.

Dhunee/Dhuni: Out of 22 Vaaras included in the Sri Guru Granth Sahib, 9 have different Dhuni headings. These Dhuni signs indicate the special basis for singing tunes. The headings of Dhunies are as follows

Vaar maajh kee tathaa salok mahalaa 1 malik mureed tathaa rhandarharhaa sohee-e kee dhunee gaasnhee. (Page 137)

Gaouri kee vaar mahalaa 5 raa-e kamaaldee moidee kee vaar dhun upar gasnhee. (Page 318)

Aasaa mahalaa 1 vaar salokaa naal salok bhee mahale pahile ke likhe tunde us raajai kee dhullee. (Page 862)

Goojree kee vaar mahalaa 3 Sikandar biraahim kee vaar kee dhunee gaavanhee. (Page 508)

Wadhans kee vaar mahalaa 4 Laila behleemaa kee dhunee gaavnhee. (Page 585)

Raamkalee kee vaar mahalaa 3 Jodhe weerei poorbaahee kee dht(nee. (Page 847)

Saarang kee vaar mahalaa 4 Raae mahime has7le kee dhunev. (Page 1237)

Vaar malhaar kee mallalaa 1 Raanhe kailaas tathaa maalde kee dhuee. (Page 1278)

Kaanrhe kee vaar mahalaa 4 Moose kee vaar kee dhlolee. (Page 1312)

These Dhuni headings are the special features of ballad singing style sung on the heroic deeds of the warriors of Northern India. In addition to their importance for Gurbani, it has great significance for the Hindustani Music. These headings also provide a new formulation for the division Of Indian Music into Hindustani and Karnatic systems. In the landscape of Northern Indian Music tradition, the Punjabi tradition emeges as a central source.

The above mentioned musical signs, in combination with Raagas and music forms, create a special tradition for the Shabad Kirtan tradition which is clearly based on the prescribed system of Hani in the Guru Granth Sahib.

Process of Shabad Kirtan: The process of shabad kirtan's singing/presentation, in the light of the above musical elements and music tradition as enshrined in the Guru Granth Sahib is as follows: Shabad has the basic importance in the Kirtan tradition. The basic purpose of Shabad Kirtan is to imbibe the light of the Shabad into the human mind. Under Gurbani, truth is as the central point. Rahaao lines are to be sung first as they form the central spiritual point of the Shabad. Under their specified musical forms of classical and folk traditions, Rahaao lines are to be sung as Sthaaee and other lines are to be sung as Antras after dividing them in the light of the given tips.

EK ONKAAR SATGUR PARSAAD

MAAJH MAHALAA 5 CHAOPADE GHAR 1

Meraa maM lochal gur darshan taaee.

Bilap kare chatrik kee niaaee.

Trikhaa na utrai saant na aavai bin darsan sant piaare jeeo.l

Trikhaa na utrai saant na aavai bin darsan sant piaare jeco.l

Hao gholee jeeo ghol ghumaaee gurdarsan sant piaare jeeo. 1 Rahaao

Teraa mukh suhaavaa jeeo sah dhun baanhee. Chir hoaa dekhe saaringpaanhee.

Dhan su des jahaa toon vasiaa meet muraare jeeo. 2

Hao gholee hao ghol ghumaaee gur sajan meet mumare jeeo. 1 Rhaao

Ik gharhee na milte taa kaljug hotaa.

Hun kad mileeal pria tudh bhagvantaa.

Moh rainh na vihaavai need na aaval bin dekhe gurdarbaare jeeo. 3

Hao gholee jeeo ghol ghumaaee tis sache gur darbaare jeeo. 1 Rahaao

Bhaag hoaa gur sant milaa-i-aa. Prabh abinaasee ghar mah paa-i-aa.

Sev karee pal chasaa na vichhrhaa jan Naanak dass tumare Jeeo. 4

Hao gholee jeeo ghol ghumaaee jan Nanak daas tumaare jevo. Rahaao 1

(Sri Guru Granth Sahib, Page-96)

In the above Shabad, the Keertan process begins by making the first Rahaao as Sthaaee in which the Guru says:

Rahaa l.(First Sathaaee): Hao gholee ieeo ghol ghlenlnave gurdarsan sant piaare jeeo.l. Rahaao. (I am a sacrifice, and my soul, I sacrifice unto the sight of the Guru, the dear.1.)

Ank (Digit) 1. (First Antraa ): Meraa man lochai gur darsan taaee. Bilap kare chatrik kee niaaee. Trikhaa na utral saant na aaval bin darsan sant piaare jeso. I. (My soul longs for a sight of the Guru. It bewails like a piedcuckoo; my thirst is not quenched, nor peace I find without the sight of the dear Guru saint.1)

Rahaao l.(First Sathaaee): Hao gholee jeeo ghol ghljmaaee gurdarsan sant piaare jeeo. 1. Rahaao. (I am a sacrifice, and my soul, I sacrifice unto the sight of the Guru, and dear 1).

Ank2.(Second Antraa) Teraa mukh suhaavaa jevosa dh baanhee. Chir hoaa dekhe saaringpaa1lhee. Dhan su des ja11an toon vasiaa mere sajanh meet muraare jeeo. 2. (Thy face is beautiful and the sound of Thine Vords imparts Divine knowledge. It is long since the sparrow havsTk has had a glimpse of water. Blessed is the land where Thou lives, 'O' venerable Divine Guru, my friend and intimate.2).

Rahaao,2. (Second Sathaaoo): Hao gholee hao ghol ghumaaee gur sajan meet muraare jeeo.l. Rahaao. (I am devoted, I am devoted unto the honourable, Godlv Guru, my friend and inhmate. 1).

Ank 3.(Third Antra): Ik gharhee na milte taa kaljug hotaa. Hun kad mileeal pria tudh bhagvantaa. Moh rainh na vihaavai need na aaval bin dekhe gurdarbaare jeeo.3. (Should I meet Thee not even for a moment, it amounts to the dark age, When shall I now meet Thee, 'O' my beloved auspicious Lord? I cannot pas the night and sleep comes not to me, mzithout beholding the Guru's Court.3).

Rahaao 3.(Third Sathaaee): Hao gholee jeeo ghol ghu11lnQee tis sache gur darbaare jeeo. 1. Rahaao. (I am a sacrifice, nnd I sacrifice my soul unto that True quart of the venerahle Guru. 1).

Ank 4.(Fourth Antraa): Bhaag hoaa gur sant milaa-i-aa. Prabh abinaasee ghar mah paa-i-aa. Sev karee pal chasaa na vichhrhaa jan Naanak dass jeeo.4. (It is my good fortune to have met the saintly Guru. The immortal Lord, I have found in my own home. I will now serve Thee and even for a trice and a moment will not separate from Thee Servant Nanak is a serf or Thine, O' reverned Master! 4).

Rahaao 4.(Fourth Sathaaee): Hao gholee jeco ghol ghumaaee jan Nanak daas tumaare jeso. Rahaao. 1. (I am devoted, and my soul is devoted unto thee, servant Nanak is a slave of Thine).

In the above Shabad Guru Arjun Dev is yearning for darshan (sight) of the saintly Guru and is expressing different psychological states in terms of separation. Four Rahaao lines with four different Rahaao 4 Ank / Digit (1,2,3,4) signs are being changed with directions as indicated in the Shabad after every Antra line; that is why the Shabad Kirtan process will be as follows:

First Rahaao First Antra First Rahaao

First Rahaao Second Antra Second Rahaao

Second Rahaao Third Antra Third Rahaao

Third Rahaao Fourth Antra Fourth Rahaao

Kirtaniaa/Kirtankaar: In the Guru Granth Sahib not only are musical elements and units determined but there are also many directions for the musician and presentation of Kirtan; the Guru says:

Bhalo Bhalo Re Keertaneea

Raam Ramaa Raamaa Gun Gaao

Chhod Maya kai Dhand Suaao

(Sri Guru Granth Sahib, Page 885)

According to the above couplet, the musician's ideal is Kirtan shorn of any greed and ego. The Kirtaniaa is not to show off his ego, but he is to render Kirtan with humility.

Ik gaavat rahe man saad naa paae. Haome wich gaavah birthaa jaae. (Sri Guru Granth Sahib, Page 158) (Some go on singing, but their mind deri-ves no solace. In pride, they sing and all goes in vain.)

The singer's heart is full of gratefulness, and he performs Kirtan by freeing himself from all ego and with a feeling of submission for the praise of God. Kirtan performed with the above feeling only is in accordance with Gur Shabad Kirtan tradition. Only by following this technique of recitation, the truth of the Shabad can be experienced.

Kirtan Chaukies: Original kirtan chauki tradition of Gurmat Sangeet was started from the time of Guru Nanak Sahib, developed and propagated by all the Sikh Gurus. Sri Darbar Sahib Harmandir Sahib (The Golden Temple) has a unique Kirtan tradition in the form of different keertan chaukees, such as:

Tinpaher dee keertan chaukee

Aasaa dee var di chaukee

Bilawal dee chaukee

Anand dee chaukee

Charn kamal dee chaukee

Sodar dee chaukee

Aartee or kaliaan

Kalyan's chaukee

Kaanrhaa or keertan sohile dee chaukee

Besides these chaukies, determined according to Raaga and time, there is a particular Kirtan tradition for different occasions, festivals and ceremonies. Singing of Raagas according to different weather and seasons creates particular Kirtan Chaukies. Apart from these Sahad Kirtan Chaukis, Kirtan in folk style, Vaaran da Kirtan and chauki sahib's Kirtan also deserve special mention. Vaar Kirtan performed at the holy Darbar Sahib since the times of the 6th Guru and the singing of Vaar (Ballads) by the Dhadis, also forms a characteristic part of Sikh Music.

Kirtan Instruments: The Gurus while creating the above Kirtan tradition not only started different Kirtan Chaukees in functional from but also chose special musical instruments. Playing on the Rahab by Bhai Mardana during Guru Nanak's time, Siranda during the times of Guru Amar Dass and Guru Ram Dass, Siranda and Israj during the period of Guru Arjan Dev, Taus and DhadSarangi for Vaar singing during the period of 6th Guru, Mirdang during the ninth Guru's time, Tanpura during Guru Gobind Singh's time, were particular which explicity proves the use of special musical instruments. The use of special musical instruments in vogue was also done in an original way. The use of those 'Tanti (stringed) instruments are especially useful for purity of notes, of the Raaga and traditional excellence of the Gur Shabad Kirtan.

Kirtan Centres: In development of the great original tradition, the Gurus beginning with Guru Nanak Sahib along with Sangat (congregation) set up some Kirtan centres where musicians (performers of Kirtan) practically and fractionally developed such tradition. Sikh history bears testimony to the fact that after the second Udasi, Guru Nanak Sahib set up the Sikh Dharamsal (Gurdawara) as an institution where the tradition of Kirtan started by the Guru was specially reiterated. Historical references make it clear that Gurbani was sung twice a day, in the morning and in the evening at Kartarpur.

Sodaru Aartee Gavveeai Amrit Vele Japa Uchaaraa (Bhai Gurdas, Vaar 1, Paurhi 38)

At this place, first by making Bhai Mardana stay on, Guru Nanak proceeded on his third udasi. Bhai Mardana continued to perform Guru Nanak Bani's Kirtan. After Bhai Mardana's passing away, his son Bhai Sajada (Sehjad) used to sing in the Guru's abode. Hence Kartarpur emerged as the first centre of Gurmat Sangeet. In addition, Guru Angad Dev founded Khadoor Sahib and continued with the Kartarpuri standard tradition. Besides Bhai Sehjad, Bhai Saddu Baddu were the famous Rababis at the Guru's abode. Guru Amardas founded Goindwal as a special centre for the propagation of Sikhism, 22 Manjies (Seats) were founded where as Sikh traditions and Sikh ways of life were propagated in different areas. Gurmat Sangeet was also popularised among the Sikh congregations . Bhai Deepa, Bhai Pandha, Bhai Bhula were the famous Kirtaanias of the Guru's period. After Guru Amardas, Guru Ramdas laid the foundation of Chak-Ram Das Pura, which later became famous as Amritsar. Satta and Balwand were the famous Kirtanias of Guru Ram Das's time. Here singing of Asa Di Vaar in the morning, Sodar in the evening and Arti at night, remained in practice. By the time of Guru Ram Das, the Shabad Kirtan tradition of Gurmat Sangeet was fully developed and established under which a unique singing style like Partal came to be practised, not found in any other musical tradition.

The Fifth Guru, Arjan Dev Sahib had the onerous responsibility of developing Gurmat Sangeet tradition on a firm footing. By this time the Harmandir had been founded at Amritsar where continuous singing of Shabad Kirtan Dhuni was performed by different Chaukies. At this Centre of Guru Arjan Dev, where Rababi Kirtan Tradition emerged in a distinctive form, common Sikhs were also encouraged to perform Kirtan which is illustrated by the Satta Balwand story of getting annoyed with the Guru. At this time, besides professional Rababis, amateur Shabad Kirtan by Sikh sangat tradition also came into being. After Guru Arjan Dev, Guru Hargobind introduced Vaar music by Dhadies along with Kirtan. Guru Har Rai and Guru Har Krishan Sahib further propagated Gurmat Sangeet tradition. Anandpur Sahib was founded by Guru Tegh Bahadur Sahib where he made the traditional Kirtan an inseparable part of practical tradition. Bhai Saddu and Maddu were the famous Kirtan performers at this great Sikh centre.

From the period of the Gurus, the same technique of training and propagation of Gurmat Sangeet has continued. According to one tradition, Rababi Kirtan performers continued to impart training on individual basis and with professional efficiency. As a result, different Rabab players and their progeny continued to perform Gurmat Sangeet, using the art of music. This tradition was in no way inferior to the contemporary tradition of the Mughal Court. In the world of music, these Rabab performers of the House of the Guru were recognised as Babe Ke. On the other hand, court musicians were known as Babur Ke. Babe Ke held a respectable place among the contemporary musicians because of their association with spiritual music traditions. This tradition of Rababi kirtankars continues till this day. Their particular style of singing and their perfection of Gurbani recitation successfully helps in differentiating their style. Many Kirtan performers became famous as a result of the amateur Kirtan tradition started during Guru Arjun's time. These Rabab performers who were recognised in comparison to the professionals, used to get their training from such musicians who were conforming to Guru's tradition and were well associated with the principles and practices of Gurmat Sangeet. Of these famous Kirtan performers of the Guru period Bhai Deepa, Bhulla, Narain Das, Pandha, Ugrsain, Nagori Mal, Bhai Ramu, Jhaju, Mukand are better known. Under the Gurmat Sangeet training tradition, where Rababis had family traditions, the amateur Kirtan performers had institutional traditions. Though historical sources of the contemporary taksals (institutions) are not available, their functioning at different places bear testimony to the fact that the seeds of this tradition were there in the Guru's period.

In the contemporary Gurmat Sangeet tradition, some taksals and institutions are as follows:

Damdama Sahib, Taksal

Budha Jor Taksal

Mastuana Taksal

Taran Taran Taksal

Damdami Taksal

Daudher Taksal

Singhwala Taksal

Hargana Taksal

Sewa Panthi Taksal

Dumali Taksal

Kleran Wala Taksal

Gurmat Vidyalya Rakabganj Taksal

Yateem Khana, Amritsar

Sourma Ashram, Amritsar

Jawadhi Kalan Taksal

Gurmat Sangeet Study Circle, Punjab

Gurmat Sangeet Academy, Punjab

Gurmat Sangeet Society, Patiala

Amrit Kirtan Trust, Chandigarh

Gurmat Sangeet Society, Chandigarh

Punjabi University, Patiala

Gurmat College, Patiala

Gurmat Sangeet Academy, Anandpur Sahib

Sikh Missionary College, Amritsar (S.G.P.C.)

Sikh Missionary College, Damdama Sahib (S.G.P.C.)

Gurmat College Delhi Gurdwara Management, and others

Sikh Music Literature: Since the beginning of the 18th century, many a scholar had composed shabad kirtan compositions in music notaions. This parallels the efforts made in the arena of Hindustani music. Beside this practical performance on record, many scholars have contributed to the establishment of Gurmat Sangeet theory as well.

In the contemporary world of Sikh music, Gur Shabad Kirtan tradition, as founded by the Gurus and developed by the Sikh Panth, has established itself as an independent and original identity. This tradition of Gurmat Sangeet prescribed in the holy Guru Granth Sahib can be termed as Sikh Musicology. In order to understand the Gurmat Sangeet tradition as directed and determined by the Gurus, such Kirtan is to be performed in a particular Raaga according to the established tradition.

Waheguru ji ki Fateh

Below is an interview and performance by my vidya Guru, Somjit Dasgupta. Ill post some more videos soon with other instruments such as Sarod and Sursringar .  

Kam Ji, do you have this recording, would you be able to send me a CD of it?

With great blessing from waheguru there will be a release of an exclusive recording (in raag) of

"Chandi Di Var"

performed by the world reknown

Raagi Bhai Balbir Singh Ji

(of 31 raag releases and the world reknown Bir Ras Dasam Bani)

The following track is particularly reccommended to all please listen...

http://www.keertan.org/keertan/Raagi%20Kee...Ar.Sogan.Te.mp3

"Sri Dasmesh Darbar"

for Guru Gobind Singh Ji's Gurpurb

Saturday 3rd Jan 09

Youth Kirtan/Katha Darbar

@Gurdwara Baba Sang, Smethwick

Bhog of Sri Dasam Granth sahib ji sehej paat will be at 6p.m

Katha in english and punjabi

Special invited raagis

Purataan shaster display

Many thanks to the Gursikhs involved and to T Series for their support in promoting Dasam Pathshahis Bani and Guru Gobind Singh Ji's Gurpurb.

CD's have been professionally produced by T Series and there will be exclusive free copies distributed to sangat on Guru Gobind Singh Ji's Gurpurb.

ਸ੍ਰੀ ਦਸਮ ਗ੍ਰੰਥ ਦੀ ਬਾਣੀ ਦਾ ਪਾਠ ਤੇ ਅਰਥ ਸਮਝਣੇ ਤਾਂ ਦਰਕਿਨਾਰ, ਬੁਜ਼ਦਿਲ ਆਦਮੀ ਇਸ ਦੀ ਬਾਣੀ ਸੁਣ ਨਹੀਂ ਸਕਦਾ. ਇਹ ਕਾਇਰਾਂ ਦਾ' ਗ੍ਰੰਥ ਨਹੀਂ ਹੈ. ਇਸ ਗ੍ਰੰਥ ਦੇ ਇਕ ਇਕ ਅੰਗ ਵਿਚੋਂ ਹਾਥੀਆਂ ਦੀਆਂ ਚਿੰਗਾਰਾਂ, ਕਿਰਪਾਨਾਂ ਦੀਆਂ ਟੁਣਕਾਰਾਂ, ਤੇ ਘੋੜਿਆਂ ਦੀਆਂ ਰਕਾਬਾਂ ਦੀਆਂ ਅਵਾਜ਼ਾਂ ਸੁਣਦੀਆਂ ਹਨ।

Raag Malaar - Partaal

Har Jan Bolat

P1

P2