shaheediyan

Although Guru Ji has indirectly refered to sound therapy (Naad), and obviously raags, and ghars etc, with a direct correlation to mood, I don't think Guru Ji has refered to colour therapy in bani. Although I think, that white was originally the colour chosen for darmsala's - Ghur ghar built by our Guru sahiban. Other references to colour in bani are simply representative of the culture of the time i.e. reference to red and brides etc...

The Effects of Colour The colour wheel Red A warm colour is the colour of energy, excitement and vitality. It is also a good grounding colour. Red is a powerful healing agent for healing diseases of the blood and circulation. It will also help with depression but it can raise blood pressure or anxiety. Red, used in a large space, can be welcoming, energising and invigorating, but it can radiate aggression. Red, in a small space, can be cozy, intimate, or claustrophobic. Orange Orange is a warm colour, a social and exuberant colour and represents ripeness, warmth and happiness. If used extensively, orange can be a very forceful colour, but is also a good grounding colour. It is used to increase immunity, help in all digestive ailments and will have a gentle warming effect if used lightly. Orange promotes feelings of excitement, can make you feel vibrant, improves appetite, and enhances social interaction Yellow Yellow is a warm colour and the colour of intellect and it is used for mental stimulation, it will help you think quicker. It is also the colour of clarity and insight . It is he first colour seen by newborns and couples fight more and babies cry more in lemon-coloured rooms It is the brightest of all colours and has the greatest illuminating power. It is warm and cheerful and stimulates activity, communication, circulation and appetite. However it is not a good colour for nervy people or people easily agitated. Green Green Is the colour of harmony and balance. It is good for tired nerves and it helps with the heart area. It will balance the emotions and bring about a feeling of calmness. Green is a good general healing colour. Green is a restful colour so will aid sleep, it also represents nature, and therefore promotes balance, harmony, peace, hope and stability. Blue Is the colour of truth, serenity and harmony, by helping to soothe the mind. Blue is good for cooling, calming, reconstructing and protecting. Blue will help feverish conditions, it will help stop bleeding and it will help with nervous irritations. Researchers found that children tested higher on IQ tests in rooms with blue ceilings Blue, if diluted to a lighter hue, can reduce stress and relieve tension. Is a colour of peace, tranquility and wisdom and can generate a sense of well-being. Blue gives the impression of space and coolness and represents serenity and loyalty. Purple Purple is a colour that will connect you with your spiritual self. It is good for mental and nervous problems. It will assist very well with rheumatism and epilepsy. Purple is a calming colour and can comfort and relieve strain. Purple is associated with noble traits such as love, truth and justice. It is dramatic, sophisticated, sensual and imaginative. Pink / Mauve / Lavender The colour's of equilibrium. Lavender can help with spiritual healing and is used as a tranquilliser. All can aid sleep. Lavender is the colour of replenishing and rebuilding, whilst pink and mauve are restful and calming. While red may be considered an energizing colour, pink is the most calming. For this reason the California children's probation department found that violent children had fewer outbursts when placed in a pink room. Being a tint of red, pink also affects us physically, but it soothes, rather than stimulates. (Interestingly, red is the only colour that has an entirely separate name for its tints. White White is the colour of purity. It will purify the body on the highest levels and will bring peace and comfort. Regarded as restful and clean, but too much will appear stark. White symbolises light, triumph, innocence and joy and it gives the effect of enlarging a space and creates an atmosphere of coolness. Silver / Grey Silver is the colour of peace and persistence. It is the major purging colour so it is very good for removing unwanted diseases and troubles from the body. Grey, like white, is regarded as restful and clean, but too much will appear stark. Pure grey is the only colour that has no direct psychological properties. It is, however, quite suppressive. Black Black represents an absence of light and colour, but can be a deep and restful contrast. It is sophisticated, elegant, dramatic and formal and gives a feeling of solid strength. It can be powerful, aloof and intimidating. Whether we are aware of it or not colour plays an important part in all of our lives it affects all our senses, sight, sound, smell, taste and feelings. Seeing colour can change our moods very effectively both on a conscious and an unconscious level, red for danger or white for peace. We even use colour in our ordinary everyday conversations, the sky is black, she's whiter than white or I'm green with envy. We express our creativity through colour, what colour's we choose says a lot, not only about how we feel but how we would like to feel. Colour is also used in healing as it has such a powerful affect on the body. This means that all colour's can have a positive or negative effect. This effect depends on the individual, the extent of colour use, and the purity or saturation of the hue. For example a room in which pure hues of contrasting colour's (those opposite each other on the colour wheel) are used is thought to be more stimulating - red and green - so this mix of colour's may be good to use in a nursery, but if you want to use them in the bedroom the colour's can be softened by using hues of that shade, such as pink and light mint. A combination of colour's from the same "family" (those next to each other on the colour wheel) are thought to invoke tranquillity, so are good for babies or children's bedroom's. Choose your colour scheme by deciding what the room will actually be used for. Every colour has warm and cool tones and you need to decide if you want a calm or stimulating environment, for example, warm colour's evoke activity and cool colour's evoke a tranquil mood. The lightness and darkness of colour's can also affect mood, for example, a deep yellow will produce a more intimate effect than pale lemon. Remember colour's appear to be more intense when set on a white or near-white background. Dark colour's look even darker when placed near light colour's. Complementary colour's look more intense when used next to each other. So what does each colour mean: Red A warm colour is the colour of energy, excitement and vitality. It is also a good grounding colour. Red is a powerful healing agent for healing diseases of the blood and circulation. It will also help with depression but it can raise blood pressure or anxiety. Red, used in a large space, can be welcoming, energising and invigorating, but it can radiate aggression. Red, in a small space, can be cozy, intimate, or claustrophobic. Orange Orange is a warm colour, a social and exuberant colour and represents ripeness, warmth and happiness. If used extensively, orange can be a very forceful colour, but is also a good grounding colour. It is used to increase immunity, help in all digestive ailments and will have a gentle warming effect if used lightly. Orange promotes feelings of excitement, can make you feel vibrant, improves appetite, and enhances social interaction Yellow Yellow is a warm colour and the colour of intellect and it is used for mental stimulation, it will help you think quicker. It is also the colour of clarity and insight . It is he first colour seen by newborns and couples fight more and babies cry more in lemon-coloured rooms It is the brightest of all colours and has the greatest illuminating power. It is warm and cheerful and stimulates activity, communication, circulation and appetite. However it is not a good colour for nervy people or people easily agitated. Green Green Is the colour of harmony and balance. It is good for tired nerves and it helps with the heart area. It will balance the emotions and bring about a feeling of calmness. Green is a good general healing colour. Green is a restful colour so will aid sleep, it also represents nature, and therefore promotes balance, harmony, peace, hope and stability. Blue Is the colour of truth, serenity and harmony, by helping to soothe the mind. Blue is good for cooling, calming, reconstructing and protecting. Blue will help feverish conditions, it will help stop bleeding and it will help with nervous irritations. Researchers found that children tested higher on IQ tests in rooms with blue ceilings Blue, if diluted to a lighter hue, can reduce stress and relieve tension. Is a colour of peace, tranquility and wisdom and can generate a sense of well-being. Blue gives the impression of space and coolness and represents serenity and loyalty. Purple Purple is a colour that will connect you with your spiritual self. It is good for mental and nervous problems. It will assist very well with rheumatism and epilepsy. Purple is a calming colour and can comfort and relieve strain. Purple is associated with noble traits such as love, truth and justice. It is dramatic, sophisticated, sensual and imaginative. Pink / Mauve / Lavender The colour's of equilibrium. Lavender can help with spiritual healing and is used as a tranquilliser. All can aid sleep. Lavender is the colour of replenishing and rebuilding, whilst pink and mauve are restful and calming. While red may be considered an energizing colour, pink is the most calming. For this reason the California children's probation department found that violent children had fewer outbursts when placed in a pink room. Being a tint of red, pink also affects us physically, but it soothes, rather than stimulates. (Interestingly, red is the only colour that has an entirely separate name for its tints. White White is the colour of purity. It will purify the body on the highest levels and will bring peace and comfort. Regarded as restful and clean, but too much will appear stark. White symbolises light, triumph, innocence and joy and it gives the effect of enlarging a space and creates an atmosphere of coolness. Silver / Grey Silver is the colour of peace and persistence. It is the major purging colour so it is very good for removing unwanted diseases and troubles from the body. Grey, like white, is regarded as restful and clean, but too much will appear stark. Pure grey is the only colour that has no direct psychological properties. It is, however, quite suppressive. Black Black represents an absence of light and colour, but can be a deep and restful contrast. It is sophisticated, elegant, dramatic and formal and gives a feeling of solid strength. It can be powerful, aloof and intimidating.

Color Psychology Do different colors affect your mood? by David Johnson Related Links Color Psychology Quiz Color: Psychology, Symbolism, and Interesting Facts What is Color? What Colors Mean - from FactMonster.com Color Blindness Academic Colors Kandinsky, Wassily Color Printing Astronomical Color Like death and taxes, there is no escaping color. It is ubiquitous. Yet what does it all mean? Why are people more relaxed in green rooms? Why do weightlifters do their best in blue gyms? Colors often have different meanings in various cultures. And even in Western societies, the meanings of various colors have changed over the years. But today in the U.S., researchers have generally found the following to be accurate. Black Black is the color of authority and power. It is popular in fashion because it makes people appear thinner. It is also stylish and timeless. Black also implies submission. Priests wear black to signify submission to God. Some fashion experts say a woman wearing black implies submission to men. Black outfits can also be overpowering, or make the wearer seem aloof or evil. Villains, such as Dracula, often wear black. White Brides wear white to symbolize innocence and purity. White reflects light and is considered a summer color. White is popular in decorating and in fashion because it is light, neutral, and goes with everything. However, white shows dirt and is therefore more difficult to keep clean than other colors. Doctors and nurses wear white to imply sterility. Red The most emotionally intense color, red stimulates a faster heartbeat and breathing. It is also the color of love. Red clothing gets noticed and makes the wearer appear heavier. Since it is an extreme color, red clothing might not help people in negotiations or confrontations. Red cars are popular targets for thieves. In decorating, red is usually used as an accent. Decorators say that red furniture should be perfect since it will attract attention. The most romantic color, pink, is more tranquilizing. Sports teams sometimes paint the locker rooms used by opposing teams bright pink so their opponents will lose energy. Blue The color of the sky and the ocean, blue is one of the most popular colors. It causes the opposite reaction as red. Peaceful, tranquil blue causes the body to produce calming chemicals, so it is often used in bedrooms. Blue can also be cold and depressing. Fashion consultants recommend wearing blue to job interviews because it symbolizes loyalty. People are more productive in blue rooms. Studies show weightlifters are able to handle heavier weights in blue gyms. Green Currently the most popular decorating color, green symbolizes nature. It is the easiest color on the eye and can improve vision. It is a calming, refreshing color. People waiting to appear on TV sit in "green rooms" to relax. Hospitals often use green because it relaxes patients. Brides in the Middle Ages wore green to symbolize fertility. Dark green is masculine, conservative, and implies wealth. However, seamstresses often refuse to use green thread on the eve of a fashion show for fear it will bring bad luck. Yellow Cheerful sunny yellow is an attention getter. While it is considered an optimistic color, people lose their tempers more often in yellow rooms, and babies will cry more. It is the most difficult color for the eye to take in, so it can be overpowering if overused. Yellow enhances concentration, hence its use for legal pads. It also speeds metabolism. Purple The color of royalty, purple connotes luxury, wealth, and sophistication. It is also feminine and romantic. However, because it is rare in nature, purple can appear artificial. Brown Solid, reliable brown is the color of earth and is abundant in nature. Light brown implies genuineness while dark brown is similar to wood or leather. Brown can also be sad and wistful. Men are more apt to say brown is one of their favorite colors. Colors of the Flag In the U.S. flag, white stands for purity and innocence. Red represents valor and hardiness, while blue signifies justice, perseverance, and vigilance. The stars represent the heavens and all the good that people strive for, while the stripes emulate the sun's rays. Food for Thought While blue is one of the most popular colors it is one of the least appetizing. Blue food is rare in nature. Food researchers say that when humans searched for food, they learned to avoid toxic or spoiled objects, which were often blue, black, or purple. When food dyed blue is served to study subjects, they lose appetite. Green, brown, and red are the most popular food colors. Red is often used in restaurant decorating schemes because it is an appetite stimulant.

A guide to colour therapy by Dr Sarah Brewer Colour therapy uses the energy of different light waves to balance and heal the body. Although it is invisible to the naked eye, natural sunlight contains all colours of the spectrum: red, orange, yellow, green, blue, indigo and violet. It bathes us in a sea of colour, which can be seen when the light is split with a prism or atmospheric water to create a rainbow. Colour therapy is a complementary technique in which the energy of different light waves is used to balance and heal. Just as all living things - including the cells in our bodies - vibrate at their own frequency, so do colours. As a result, colour can affect your emotions and wellbeing. Shades of blue, for example, are restful and can be used to help lower blood pressure, improve sleep and to reduce pain perception. In contrast, exposure to red light tends to have the opposite effect and can cause raised blood pressure and feelings of stress as it triggers the release of adrenaline. Red does have a role to play in colour therapy, however, because magenta is the colour of 'letting go' and may be used in small amounts to help free you from negative emotions. Just as all living things - including the cells in our bodies - vibrate at their own frequency, so do colours Green is the calming colour of nature and has the ability to reduce anxiety and tension. Hence, if a person is recovering from stress or ill health a natural setting that contains green foliage, the healing process will accelerate. How colour therapists work The therapist will pinpoint imbalances in the energy vibrations of your cells and then use colour vibrations to correct those imbalances and restore wellness. Most therapists use a colour together with its complement (the hue that is opposite and balancing in its qualities and effects). He or she may ask you to pick three cards from a selection of eight and the colours you choose will reveal your current emotional and physical state. These colours may then be used along with their complementary shades to help balance your vibrational health. To assist the process, a special device may be used to beam coloured light on to the body. In addition, the therapist may also encourage you to visualise certain colours, channel colour to you through his or her hands and advise you on which colours to wear - such as putting a base layer of white clothing underneath colours to filter out unwanted colour vibrations - which coloured foods you should eat and sometimes even which coloured drinks you should choose. Look here too A guide to iridology Celebrity eyes Using colour to your advantage Using colour Certain colours do very specific things, so listen to your intuition, which will often let you 'see' the colours needed to heal your vibrational imbalances. Use orange to stimulate emotional, physical and sexual energy as well as lift your spirits. Use yellow to promote clear thinking, self-control, optimism, inner strength and to resolve unaddressed emotions and feelings Use green for freshness, regeneration and growth. Use blue to lower high blood pressure, calm over-excitement and to promote restorative sleep. Use turquoise to increase your emotional resistance, boost immunity and to protect you from the influences and demands of others. Use indigo to calm anger, lower stress-related high blood pressure and to help you overcome addictions. Use violet to calm anxiety. Relax and visualise a healing colour at times of stress – imagine being totally immersed in that colour and breathing it into your body.

Thanks veer ji, we will have to agree to disagree on some points. As I have already stated, the "revert to riding horses" example is invalid, as on the large part, kirtan has devolved i.e. use of vaja by 99%, rather than evolved i.e. invention of tar-shanai by Namdhari, which I have no problem with. However, there is something magical about horse riding (please try it if you haven't done so already). You never know what the future holds... Jaan Bhai may be set for a big return! Not adhering to raag and using new and inappropriate styles i.e. tumri, which was born in the 19th C cotian, and invokes feelings of lust (rather than love) is not evolution, but devolution, as Guru Ji had taken bharat sangeet back from the Mughal darbaars and given it it's original purpose again, a tool for devotion. Tabla, I will have to find some evidence for you re it's history and sound. But in simple terms, the straight design of the jori barrel allows for more bass, may be tabla is an evolution, as tabla was designed for entertainment and unrestricted use, and do agree (without having much knowledge) that it probably is more versatile, but for kirtan purposes, which is restricted to the raags, styles and layout of Gurbani, the jori is perfect. Take the amplifier and loudspeaker away and you will see the difference between jori and tabla. All the paintings/photos I have seen of kirtani before the onset of electronics show jori. If you have any exceptions, it would be great if you could share them. It would be interesting to see what the oldest picture of tabla dates back to. I did not say kirtan was a style in it self. It is devotional singing, which in Sikh terms is performed in accordance with Guru Ji's hukums. The styles contained within, are as instructed i.e. dakani (south indian), folk syles etc. Kirtan style and saaj evolved due to the change in poetry and instructions in bani i.e. addition of par-taal by fourth Guru, creation of gurbani vaars by fifth Guru, kyaal and yudh bani by 10th Guru etc. I suppose if relevant and suitable innovations like the tar-shanai are created it's not a bad thing, but introducing new singing styles (therefore replacing hukmi ones), changing rules (non adherance to title), and introducing lesser saaj which cannot play raag i.e. vaja - provides no benefit or advance in kirtan. Dear veer ji, I am a traditionalist, old is gold mentality, may be I am somewhat blinded/biased by this mindset, but in many cases, I truely cannot see how our Guru's vidya and culture can be improved on, this could turn into a very complex topic, so I will end here. Vaheguru

Gurmat Sangeet is exactly that, sangeet rendered using Gur-mat - Guru Ji's wisdom. Guru Ji's wisdom is reflected in black and white in Sri Guru Granth Sahib Ji Maharaj. ਰਾਗੁ ਵਡਹੰਸੁ ਮਹਲਾ ੧ ਘਰੁ ੫ ਅਲਾਹਣੀਆ raag vad-hans mehlaa 1 ghar 5 alaahanee-aa To be recited in Raag Vadhans (emotion of a bride, both happy and sad) Authored and Instructed by Guru Arjun Dev Ji Prominence to be given to the 5th Microtone To be sung in the folk style of Alaahaneeaa (mourning/sadness) This is of course is useless if we do not have true kirtan (devotion) and desire for naam in our hearts. The perfect balance for kirtan should be that of internal love (love for Guru) and external love (living by Guru's hukum). Vaheguru

Dear Niranjana veer ji, Thanks for your comments. Good to see someone is taking a healthy interest in the topic. I think there are a few misunderstandings, so I will try and fairly answer your points: I personally do not relegate any vaja rendition, on the contrary, you will see some of the raagis I have just posted on use vaja (unfortunately), but that dos not lesson their vocal skill (in some cases). Bibi Jaswant Kaur is extraordinary, but listening the shabds it is clear the vaja is not bringing any beauty to the shabd. This can and is overlooked in Bibi Ji's case and many other great raagis case such as Bhai Avtaar Singh solely based on their vocal talent and devotion. Bhai Avtaar Singh Ji is the perfect example, compare their recordings for most of their life on the vaja to the last few years on the Taus and see the difference in presentation, admittidly the devotion has always been there in any case. I am not judging the raagi or the kirtan, but simply stating my opinion that the vaja spoils the presentation and cannot ever justify being an accompanying tool for raag (for many reasons stated in posts). If someone is using vaja and adhering to Guru Ji's kirtan maryada, I am always happy to sit, listen, learn and enjoy - it's simply a matter of my opinion and thought, being "wouldn't that be so much more beautiful if it was with Guru Ji's saaj"... Hope that clarifies my angle. Jori - again same thing, you cannot do what you do on the Jori, on the tabla. The tabla is a recent invention, a tighter, shallower, quieter sound - made for the recording era. The playing styles are different, it cannot produce big deep notes, which vibrate through you at key points in the shabd, it employs different methods of execution etc.. there is much info available on this. When one hears an experienced Jori player live such as Bhai Harjinder singh Lallies brother, Bhai Narinder (?) Singh Ji, one understands what the fuss is all about. Anyhow that deserves a thread of it's own. You mention that many raagis end up besura without their vaja, that was the point I was making re the Vaja replacing the Tanpura. I have heard shabd kirtan in raag with just tanpura, it sounds absolutely beautiful, it would do so much more justice to kirtani's who haven't got the time to learn taanti saaj... but thats just my meager opinion. You say vaja was never intended to be a solo saaj, but it is in most cases. Tanti saaj were in fact never meant to be solo saaj, this is evidenced by all puratan jathaas i.e. Baba Harnaam Singh, having so many people with so many saaj. This tradition of 10-15 people jathaas was ended by SGPC, who used the vaja as a solo or dual saaj, replacing the large musically diverse jathaas with 2-3 people amatuer jathaas, who could apparently do the same job thanks to the easier instrument to tune and learn and inception of the amplifier and loud speaker. Veer Ji, Gurmat sangeet is not simply bharati sangeet. Classical has no rules, Gurmat does (many of which have been mentioned here and in other recent threads). Also, Gurmat sangeet constitutes specific raag, style (folk, druphad and khayal), whilst bharati includes many, many other elements (which have leaked into kirtan), i.e. valambad, tumri, ghazal, qwaal etc.. My arguement for khayal in Dasam bani is it is placed in the title, where raag usually appears (in fact the next shabd has a raag title). In addition it fits with the cstyle of the omposition. Lastly as I said, no other historical reference has been found before, so by default... also, you will see Khayal taking off and references being made after this point... Veer ji, many "trained" raagis actually use khayal, khayal is simply a means of being more elaborate in expression (more outwardly), where as dhrupad is more inwardly (spiritual), both used for different purposes. Vlambad is the extreme, slow kirtan, slower than Dhrupad, Vlambad is ofter confused for dhrupad, Bhai Avtaar Singh Ji used a lot of Vlambad, which came into being in the mid 1800's. Good point made on the use of saaj with Dhrupad veer ji, and I am glad you did. Dhrupad as you say was historically sung using veena and pakavaj (as in Swami Haridas Ji's time). Guru Nanak Dev Ji however changed this by creating/desiging the Sikh Rabab, or Nanaki Rabab as it is also known. This was the original deep sounding and haunting sound that was used for Shabd kirtan Dhrupad. Later, Guru Arjun Dev Ji introduced the Saranda, similar in shape to the Sikh Rabab, but played with a bow instead, the same strings were still used however, thick gut strings, to produce a deep sound, needed for dhupad. The change was made to cater for the more complex style of shabds that the Guru Sahiban were singing and the additional styles (i.e. folk) they were introducing. In addition you mentioned the pakavaj, this was not upto the job, so Guru Ji cut in two, redesigned it and invented the Jori. This gave a higher degree of technical playability and much louder sound for reaching the ever increasing sangat (no amplifiers in the open air diwaans in those days, although they had domes for amplification in the Gur-ghars). So use of the Saranda and Jori is very puratan in terms of Dhrupad. Other saaj are very versatile and are up to the job, albeit not having the same affect as sarand and rabab, still have more of an affect the the vaja non the less. You have made some very good points, thank you, and in particular I take note of your comment "creating traditions that never existed in the first place" (please elaborate here if possible veer ji. This is certainly not my objective (directly or indirectly), and I am happy to be proven wrong on any points/opinions I have made, as long as the goal is identify puratan kirtan tradition. I do agree many famous people do seem to be introducing/creating traditions, which logically do not fit gurmat kirtan i.e. timing of raagas, various new styles i.e. tumri, ghazal etc, non-adhrenace to title raag, long alaaps, singing sur, playing long and elaborate musical pieces etc ( I will post some excellent and shocking examples of these soon)... But we should not ignore or downplay evidence based research and revival of traditional kirtan and saaj, even if some of the promoters can be overly passionate to the extent of being egotistical or rude (like me). Vaheguru

A perfect execution of raag sri by Bibi Jaswant Kaur Ji: http://www.gurmatsangeetproject.com/Record...mohi%20tohi.mp3

A few comments on Bibi Ji's kirtan: - Highly energetic, her enthusiasm is infectious! - Very mixed styles, namely dhrupad and kayal, but many variations therein, showing a highly innovative and imaginative mind. Also mixes in and if ond of modern classical styles such as tumri. - Has knowledge of many folk styles also, have been told that Bihari and Hori folk style is used in some of the shabads, Bibi Ji is also very fond of tumri style which was probably taught to her by Bhai Tabba Ji, who also would have been influenced by the popular styles of the time. - Crystal clear execution of the words, very easy to understand and follow. - Reetan and pretty simple although highly technical, especially the fondness of par-taal, which Bibi Ji uses effortlessly. - Bibi Ji's shabds are very short, seldm laster for longer than 5 mins (even less), possibly due to her eagerness to move on the next shabd! This may be why Bibi Ji even at her grand age, has retained such a high level of reetan and raag vidya. - Bibi Ji sometimes improvises with words (not a good thing) to make them fit the composition/taal, althought just minor adjustments i.e. leaving a word out or adding one in. - around just less than half of Bibi Ji's kirtan is in title raag, pretty impressive for todays day and age!!

Recordings of Bibi Ji: http://www.gurmatsangeetproject.com/Pages/JaswantKaur.asp Bibi Ji lives a very simple life and has the energy and voice of 16 year old, her passion for kirtan is truely infectious. A bhen of mine met with her a few months ago after her daily evening divaan in Delhi (which seva Bibi Ji has performed for over 15 years), and during langar asked them why they compromise Guru Ji's hukum (Bibi Ji sings in non-title raag as well as title). Bibi Ji replied (translated), " my dear daugher, when the sangat comes from so far to hear kirtan, and do a benti to hear a particular shabd sung in a specific raag, I haven't the heart to dissappoint them". This reveals part of a problem which the panth and Gurmat sangeet encountered from the onset of the All Indian Radio days: The popularity and propogation of modern classical music, being made famous by cinema as well as radio, and for the first time being available to a Sikh audience. The Sikh audience creating a demand and sangat pressure to hear these same classical raags and filmi tunes in Guru Ghar irrelevant of kirtan and Guru Granth Sahib maryada. Bibi Ji although being hugely influenced by classical traditions such as singing of non-gurmat raags and non-gurmat styles such as tumri, has retained much gurmat sangeet knowledge and puratan reets, which hopefully someone will be able to document and help preserve in the near future.

http://gurmatsangeet.blogspot.com/2005_09_...et_archive.html A gem discovered Gobind Sadan, Delhi July 2005 (Note : I started writing this article in September 2005, but it was completed and published on February 28, 2006) A warm summer morning in Delhi. The rains are here and Delhi is a giant muddy puddle. After driving for what feels likes hours, I am finally there. We've passed through run down shanty towns. As well as rows upon rows of spotless 'farm houses', gated and somehow intimidating. Over the years, as my interest in Gurmat Sangeet grows, I inevitably talkto many kirtaniyas and kirtan premis about the great Rababi tradiiton, which is all but dead today. Many wistfully reminisce of the legendary Bhai Lal, and the redoubtable Bhai Chand and Bhai Taba who sang for years at the Harmandir Sahib, before 1947. Bhai Taba Ji's presence looms large. An outstanding musician. A veritbale repository of traditional Gurmat Sangeet composition. A lovely, humble man. Dedicated. Young Nampreet Singh, a Kirtaniya from Toronto first tells me about a possible living link to the Rababi tradition. A frail old woman. Once a student of the legendary Bhai Taba Ji. Her name : Bibi Jaswant Kaur. Last known whereabouts ? Nobody seems to know. Baldeep Singh, the Sikh musician, visits Boston. In a casual conversation he speaks warmly about an old woman, a student of Bhai Taba Ji, who he often visits. Bibi Jaswant Kaur is found ! Tentatively, I send an email to Gobind Sadan and I get a response. I call, and am directed to a neighbor's house, who is kind enough to fetch Bibi Ji. Somewhat tentatively, I ask her if she would be willing to meet me. To my delight she agrees. Emboldened, I ask if she will consider letting me record her. She is willing, but she doesn't really have an accompanist on the Tabla. It is thus I find myself at Gobind Sadan this muggy monsoon morning. Bhai Kavinder Singh, a student of Gyani Dyal Singh Ji's, who plays the tabla with Bhai Jitender Singh has been drafted. He has been asked to polish his skills, particularly at the lesser known Dhrupad Taals that a student of the great Bhai Taba Ji is likely to play. Bhai Kavinder Singh hasn't arrived yet. I am clearly expected. A kindly old Gursikh, popularly known as Bhagat Ji at Gobind Sadan, who has been waiting for me, directs me to Bibi Ji's apartment. Bibi Jaswant Kaur Ji She is the youngest 85 year old I have ever met. She welcomes me with genuine warmth. Slices fruits for Bhagat Ji and me despite my protests. The next couple of hours are a delight. She remembers everything. Her sixteen years as a student of Bhai Taba Ji in Amritsar. As a seven year old, she remembers listening in as her aunt is taught by the legendary Dilip Chand Vedi Ji. Her father's surprise at her being able to perfectly render a Thumri she hears her aunt sing. Her first lessons in Gurmat Sangit with the Bhai Sahib from the local gurdwara. Her father nurtures her talent by moving to Amritsar after retirement. Engages the services of Bhai Taba Ji to teach his young daughter. Bhai Taba Ji visits their house every day to teach her. His is accompanied by Bhai Nasira Ji, who plays the Jori and specializes in playing Sath (dhrupad bols that in modern times are played on the Pakhawaj) She talks about Bhai Taba Ji. His humility. Father of nine daughters. Constantly worrying about getting them married. The devastating effects of Partition in 1947, when Bhai Taba Ji, Bhai Nasira Ji, Bhai Chand Ji move to Pakistan. Travellers bring back poignant tales of the Muslim Rababis, once revered keepers of the Gurmat Sangit Tradition, now without an audience or patrons in Pakistan. Their art withering and dying. Heart wrenching portraits of neglect, tears and despair. Driven to desperation. Devoid of any skills other than the singing of Gurbani. Some become quacks and make their living applying leeches to the ill. Others earn their living by beating silver into thin layers of foil for the confectioners of Lahore. She remembers two and a half hour Kirtan Chowkis that Bhai Chand Bhai Taba participate in. To my surprise I learn that there is no accompaiment by stringed instruments. Both Rababis accompany themselves on harmonimums. They do not use Tanpuras. She talks about her life at Gobind Sadan. She has been here for thirtyfive years, after the death of her husband, singing for half an hour each morning and another half hour each evening. For the last twenty, Bhagat Ji has accompanied her faithfully every day. Bhai Kavinder Singh is here at last. I have asked Bibi Ji to sing some compositions in particular, that are transcribed in Gian Singh Abbotabad Ji's books on Gurbani Kirtan. The next fortyfive minutes I am transported to another era. Shabad after beautiful shabad in the traditional Rabai style, each rendered with joy and love, by this amazing eighty five year old Kirtaniya. A direct link to our hertitage. To the divine message of Baba Nanak and the glorious music of Bhai Mardana. The renditions speak orders of magnitude more eloquently than my words : (Har jan bolat sri ram nama; Raga Shudh Malhar) (Jal jasi dhola hath na lai kasumbde; Raga Suhi) (Maha maha mumarkhi chadiya sadaa basant; Raga Basant-Marwa ang) (Man re jap ram nam gopal; Raga Darbari Kanada) Bibi Jaswant Kaur Ji, Bhai Kavinder Singh and Bhagat Ji Bibi Ji is kind enought to give me some more of her recordings; they are all available at the Gurmat Sangeet Project Bibi Jaswant Kaur Page Its time to leave. She is tired. I would love to do something for her. Anything. But she is content. She lacks nothing. Wants nothing. She is happy. She is the guardian of a great, priceless treasure. Each day of her rich life, she shares it. Selfelessly. Joyously. Humbly.

Bhai Sahib was one of the most influential kirtanis in the 20th century. 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://www.rajkaregakhalsa.net/literature/...0Singh%20Ji.pdf

I came across this site looking for information on Raagi Santa Singh Chamak. I was very disheartened, the mainstay of this site is jokes about a character called Santa Singh, stereotyping Punjabi's, possibly Sikhs, for their lack of intelligence. This is just an example: Santa Singh: What is the full form of singh? Banta Singh: S-santa I-insaan N-nahi G-gadha H-hai. I fail to see what anybody would find funny in this, even if repeated in Hindi/Punjabi. I had heard of this Indian attitude a few times, but am quite saddened now that I have come across this first hand. I know some members will react to this with their unintelligible and patronising "Tyar par Tyar" and "Rehit Police" remarks, none the less I find jokes like the one above offensive, and if not direct, it is certainly constitutes indirect propoganda, especially as Sikhs are disproportionately doing so well in nearly all academic fields in India.

In one old recording, whilst singing a shabd I heard Sant Ji start singing "Nach ke manaale yaar nu". I know Sant Ji was heavily influenced by ras-leela, a sort of musical devotional re-inactment of stories of Krishna etc (this is where the use of chennai etc in kirtan was taken from), but were also influenced by Sufi singing i.e. there is a very strong Qwaal/Sufi presentation to their kirtan. The verse mentioned above definately sounds like something derived from Sufi sources, I do not think it is from Gur-bani. Would anyone know the original source of the aforementioned? Dhanvaad.

http://www.youtube.com/watch?v=KbVy9yksw1s...ted&search= Ravi Shankar nicely introduces the basics behind the tabla, demonstrated by Grand Master Ustad Allah Rakha...

A masterclass. At the Darbaar festival.... http://www.youtube.com/watch?v=W-pIH0rRzPM...ted&search= At 9 years old.... http://www.youtube.com/watch?v=1JDMQxTZjnE...ted&search= To finish... http://www.youtube.com/watch?v=EcNmzekgUsQ...ted&search=

Yes, veer Harjinder Singh Ji is doing a great job in learning, teaching, researching and promoting Gurmat Sangeet and Tanti Saaj. They are especially active in reviving Dhrupad kirtan. In addition to the above e-mailing list, for those that are really interested, I would also suggest using the Raj Academy Traditional Sikh Music Community Forum. A community-initiated forum of students, Sikh Music enthusiasts, individual researchers and practitioners.

Thanks veer Guv Ji, now corrected. Nice to know someone took time out to read my post! Vaheguru

Listening to Sant Ji's kirtan, I find that without any doubt in my mind, this has definately influenced many other Sants style of kirtan and most definately has been an influence on the AKJ kirtan we see today. Sant Ji was one of the most prominent kirtan personalities in the 40's-60's, so did have a heavy influence on many Gursikh. AKJ - some similarities - Par-taal (variation of rythm), on nearly all shabds, singing of Vaheguru in the shabd, tunes taken from various sources (non-raag), singing certain parts of the shabd repetitively... Sorry, this post is not supposed to be a kirtan post, but just had to share these thoughts! Vaheguru

For kirtan-parchaar: http://www.sskhalsa.com/andromeda.php?q=f&...Sujan+Singh+Jee http://www.santsujansinghji.org/santsujansinghji.htm "Maharaj ji" as he is popularly known as among his sangat. He was born on 25th October' 1911 in the village Bagh, zone Jhang, India. His predecessors too were kirtiniyaas namely Bhai Jassa Singh Ji (great grand father), Bhai Mahtab Singh Ji (grand father), Bhai Gian Singh Ji (father). This was not their profession and they did it to satisfy their innerself. But when Sant Mandleshwar Ji asked Maharaj Ji and his father to adopt it as a profession then intially they were hesitated to do so but later on bowed before the Sant's saying. So Maharaj ji was sent to learn Kirtan with raag and taal. It was then when they came in contact with Baba Nand Singh Ji (Kaleran Wale) who blessed him with the Eternal Kirtan. Maharaj ji spent his entire life teaching Guru Nanak's preaching's sharing Baba Nand Singh Ji's experiences and most importantly doing so through self application. It was on 1st Jan' 1970 that he left his bodily form but he still blesses the sangat with his heavenly kirtan (available in the form of audio cassettes and CD). His presence can also be felt at Sant Samagam (Karol Bagh) and Anand Samagam (Rajouri Garden) in New Delhi, India. Anybody who loves Kirtan should listen to him at least once and find for themselves. As no one can write about Saints so nothing like listening to them directly about their preachings and experiences. I have no hesitation in calling him the "Epitome of Kirtan". ----- In the tradition of other saints such as Baba Isher Singh Ji Rarewale, I would not say this is kirtan per se, but rather what I describe as kirtan-parchaar, as non-bani is also being sung, and excerpts of shabd are sung etc, so in my mind it equates to musical parchaar, as shabd kirtan is exactly that, i.e. not mixed with anything else. Sant Ji's Parchaar is very charismatic...

Guru Hargobind Sahib, although not inventing it, introduced the Sarangi to the Sikhs, mainly as an accompyment to singing Gurbani Vaars to induce warrior spirit in the first Sikh soldiers. The Sarangi was chosen over the currently used Rabab and Saranda, due it's hugely flexibility and fast playing capability, needed to render the folk dhunis required in the some of the vaars. It may be that these dhunis were already traditionally rendered with the sarangi. There is also a theory that Guru Hargobind Sahib Ji added the dhunis after Guru Arjun Dev Ji completed the holy Ad Granth sahib. Researchers have the dhunis are written in a different writing in the Kartarpuri bid, but others say that the writing style is the same etc, always a contentious subject. Hopefully one day someone will digitalise the Kartarpuri bid! In any case here is an excellent intro to the Sarangi, by a student of a master.. Enjoy

http://www.gurmatsangeetproject.com/Record...%20jan%20ko.mp3 A shabad by the legendery Bhai Samund Singh ji. Bhai Sahib was a credit to raag kirtan and it's propogation, but unfortunalty, due to the pressures and requests from the mainly non-sikh populace arising from performing on All India Radio gor 36 years, Bhai Sahib didi not adhere to title raag many a time, as lovers of Indian classical obviously wanted to hear Bhai Sahib execute the other large array of bharat raags. Anyhow, the point of posting the shabd is to provide an example of a kirtani who was a master of vajaa, and to show how the vajaa cannot keep up with their melodious voice, and even overpower and spoil the beauty of the shabd. This is no reflection on the Bhai Sahib, his shabd, his spirituality or the bliss gained by the listeners, this is simply being discussed in relation to this topic. In comparison I would like to also present Bhai Baljeet Singh Ji Namdhari, who is a master of the tar-shanai, and can easily show how the saaj can keep up with their sometimes beyond belief vocals... http://video.google.co.uk/videoplay?docid=...i+baljeet+singh Here is a small rendition of raag Asavari by a novice, in my opinion one could reach this level in 6-12 months time depending on their riaz (daily practice). This is just to show what is possible should people want to take up Guru Ji's saaj and play beautiful music in a short time. That learning, tuning and playing tanti saaj and learning raag takes 20 years is a myth propogated by raagis for many years so that they could keep their niche and keep business coming in. This is all changing today, many publications will soon be released "telling" the long kept secrets of raag and learning methods. Gurmat kirtan was created and given by Maharaj for all of us to enjoy and appreciate, we should all make a little effort to preserve Guru Ji's most beautful gifts and put them in demand (buy nirdaareth raag kirtan/tanti saaj kirtan), so that more devoted practitioners of this God given art can flourish and spread Guru Ji's divine words in the most beautful was imaginable. And to finish, here is what is possible if we choose to use Guru Hargobind Sahibs sarangi and Guru Tegh Bahadur Jis gifted raag - Jaitsri... Vaheguru

A few points to note: In Gurbani, Guru Ji makes regular reference to "ghar" in the title of certain shabds. Those that have looked a little at the evolution of music, now that from Bharats classical texts, the word "greh" is used to desribe certain important microtones in a scale. The word greh translates to "house", and signifies the home note. In Gurbani, Guru Ji refers to ghar 2, ghar 17 etc. This is an indication the Guru ji is asking for the Vadi (King note) to be over-riden by the "ghar" - house or better understood as "guest" note. "Traditionally", a father (man of the house) comes home from work, and is served his meal, the family will wait for the father to arrive and then eat with him. This is the norm except when a guest visits. It is then normal for the father to take 2nd place and guest to take the place of pominance for the duration of his/her visit. This is exactly how the Vadi is temporarily replaced by the ghar in these shabds, Guru Ji are using their divine knowledge to make a minor adjustment to the raag (rather than invent a new one), to slightly alter the mood according to the expression of the shabd. Many people claim ghar refers to the taal, but this arguement is flawed, as Guru Ramdas Ji who invented mulitple rythms, has indicated "par-taal" and ghar in the same shabd, which would then be a contradiction, as how can you have an order for a specific taal, as well as order for multiple taal at the same time? The point of this being "Shruti". Indian scales have 22 microtones (notes), where as western chromatic scales have only 12 (inc soft/sharp notes). The Vaja clearly lacks the technology necessary to adhere to the Guru's "ghar" instructions in bani. In addition, as clearly mentioned in the article above and touched on in an earlier post, the vaja doesn't have the capacity to perform meends and gamaks, which form an intricate part of raag kirtan. Gamaks are necessary for shabds where Guru Ji has given a folk or "Dhakani" instruction i.e. South Indian, and meend is a necessary ornamentation needed to establish emotion, and help differentiate between raags in terms of mukh angs (unique set characters in a raag). South Indian classical (very puratan in terms of music from Vedic times and it's original use), chose to adopt the violin rather than the vaja, very good move. The violin is similar to taanti saaj, and the South Indians adopted it, changed it and now produce an Indian version, set to Indian scales, it is traditionally played in the same pose as a Saranda/Sarangi i.e. sitting on the floor, not held across the neck. he violin, although still producing a clearly western and unauthentic sound, is at least able to satisfy the technical demands of Indian and Gurmat Sangeet....

Independent review from Sikhi Wiki. Harmonium Pakrashi's Professional HarmoniumThe Harmonium is a small, manually-pumped musical instrument using fixed reeds to create the basic sounds. There are two main types of harmonium: a foot-pumped version that resembles a small organ, and a hand-pumped portable version that can fold up for easy transport. The hand-pumped portable version is very popular with Kirtan Jathas along with the Tabla and these form the main type of instruments used by Ragis during the performance of Kirtan. The Harmonium was invented in Europe in Paris in 1842 by Alexandre Debain, though there was concurrent development of similar instruments elsewhere. During the mid-19th century missionaries brought hand-pumped harmonium to India, where it quickly became popular due to its portability and its low price. Its popularity has stayed intact to the present day, and the harmonium remains an important musical instrument in many types of Indian music, as well as being commonly found in Indian homes. In Indian music, the Harmonium is considered to be one of the most versatile instruments. The harmonium is used in classical, semi-classical, and devotional music. It is usually used as an accompanying instrument for vocalists in classical music. However, some musicians have begun playing the harmonium as a solo instrument. One of the largest pioneers of this style is Pandit Tulsidas Borkar of Mumbai. More and more music students are learning in this fashion. Harmoniums consist of banks of reeds (metal bands which vibrate when air flows over them), a pumping apparatus, stops for drones, and the keyboard. The harmonium functions mostly like an accordion. In order to play the instrument, one must pump air into the instrument and press the desired keys. The sound of the harmonium is unique, and improves over time as the instrument ages. The number of reed banks is up to the particular person. Some harmoniums use 1 reed, 2 reeds, and 3 reeds. This refers to the number of reed sets there are in the instrument. Classical instrumentalists usually use 1-reed harmonium, while a musician who plays for a qawaali (Islamic devotional singing) usually uses a 3-reed harmonium. -- ------------------------------------------------------------------------------ The harmonium is popular kind of sushir vad. The word harmonium is derived from the Greek word "harmony" which is the basis of western music and implies simultaneous sounding of several notes or the accompaniment of a melody by chords. The harmonium has the appearance of a box out of which music can be produced. It is a reed-blown instrument like a large harmonica with mechanical bellows and keyboard. It is said that the harmonium was first produced in Paris in 1840 by Alexandre Debain. He devised a bellows worked by the player's feet to force air into a wind-chest and then through channels opened or closed by means of a keyboard. The notes are produced by reeds made of steel. The bellows is either worked by feet or hand. When the keys are touched and bellows is inflated, the air passes through the inner reeds and produces twelve notes (seven shudh, four komal and one teevar). The harmonium has either single reed or double reeds. In case of double reeds, two notes of the same type, in two saptaks are produced simultaneously. Generally, a harmonium has three or three and a half saptaks. This instrument is very easy to handle and is very popular in North India. The beginner can easily play it and learn both vocal and instrumental music. The instrument has fixed notes and its tones cannot be changed. The harmonium can be used also an accompaniment of a vocalist. Any svara (note) can take the place of S and the raga played accordingly. The twelve notes of the harmonium are not natural notes but are a tempered scale. In the saptak, the difference between S and R and again between R and G and so on has been(figures) to consistent and equal degree. The main defect of this instrument is that it has twelve artificial notes though they correspond to the twelve natural notes (as for instance on a sitar). With the accompaniment of harmonium-notes, the svaras of vocal music also tend to be artificial. By playing the harmonium, the human voice becomes artificial, because according to the tradition of Indian classical music, the real notes of 22 shruties should be produced. There are certain notes in classical music which cannot be reproduced by the harmonium, for example _G_ in raga tod, M in raga Lalit, etc. Therefore, practice of svaras on the harmonium tends to make the svaras unnatural or unreal. Many classical singers frown at the use of harmonium. For Strange ways condemns the use of the harmonium and regards it as a serious means of Indian music. He remarks "Besides its deadening effect on a living art., it falsifies it by being out of tune with its itself." [2] It is not good to practise svara-sadhana (note modulation) on the harmonium. It is better to practise the svaras on the tamboora. When the strings are touched, they vibrate and the note continues to sound for a while, but in the case of the harmonium, the tone starts for a while, but in the case of the harmonium, the tone starts with inflation of the bellows and when the bellows stop, the note comes to an end. Meend (glide from one note to another) and gamak (delicately mixing svaras in a raga) are not possible on a harmonium and as such, richness and excellence of melody is unavailable. This instrument is not good for accompaniment of vocal music, because it cannot reproduce the various delicate shades of vocal music. It is better to use a sarangi or bela (a kind of violin) for the accompaniment of vocal music.