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Guru Shabad Singh biography, Guru Shabad Singh discography
More quick links at the bottom of the page...Guru Shabad Singh's new Sadhana CD "Ong".Vocals by Hargobind Hari Singh ("Hargo") on the "Sat Siri" chant.Guru Shabad Singh is very excited about the quality of this CD, commenting that this is his, "Best Sadhana CD to date."Sale prices are available via phone orders, call in to receive our excellent discounts.Care for your body, mind and spirit.European group who made Sa Re Sa Sa a huge disco hit in Italy!Har Har Har Har Gobinday Vol.Please note that shipping costs are not included in your shopping cart total, please give us a call for a firm quote.Guru and thus to render praise to the Lord.The Holy Book is organized according to ragas, 31 in number, to which the poetic hymns belong.Raga variants are those melodies to which a ragi or rababi (musician), may move when beginning a new line of text or when inserting explanatory material.Over the centuries more raga variants have been approved than the few given in the Guru Granth Sahib.Raga variants have some points in common with the main raga but sufficiently different to set off the textual material musically, thus keeping the many verses from becoming musically monotonous.Holy Book may also be used as a variant.Vars (slokas and pauris) may be set to authorized folk tunes, some selected by the Gurus themselves, and treated in light classical style.The Holy Book contains only 31, eight of which are not given in this Ragmala.This circumstance can be interpreted to mean that the classification was not done primarily for the Guru Granth Sahib, but was included as it had existed.Since the basic notes of two or more ragas may be the same, the performance rules and the melodic material are the chief means of maintaining the proper mood and individual character.See also Kirtan Shabad
Contents
1 Rababis, Ragis and Dhadhis
1.Bhai Avtar Singh Ragi
2.Amritsar before the Partition in 1947.The last of the line of rababis was Bhai Chand whose kirtan the author had the privilege of listening to, before 1947.After the Partition of India, the rababis migrated to Pakistan, the line of rababis is almost dying out without Sikh patronage.Guru Arjan encouraged to perform kirtan in order to avoid dependence on professional rababis.Delhi, after the passing away of Guru Gobind Singh.Kirtan at the Golden Temple, Amritsar, was discontinued (on account of the persecution and atrocities of Muslim rulers) for many years in the eighteenth century.When the Sikh missals (confederacies) obtained control of Amritsar, kirtan was restarted at the Golden Temple.The ragi group generally consists of three persons: one plays the tabla or jori (pair of drums) and he seldom participates in the singing; the other plays the harmonium, and the third plays a stringed instrument or harmonium or cymbals.The leader of the group sits in the centre and the group is known by his name.Shromani Gurdwara Parbandhak Committee to perform kirtan in relays at the Golden Temple and at some historic Gurdwaras in the Punjab.Dhadhis
Guru Hargobind first employed the third types of musicians called dhadhis early in the seventeenth century.He instructed them to sing heroic ballads (vaars) in his court to inspire the Sikhs at acts of valour and heroism.These groups subsequently became very popular all over the Punjab on account of the use of folk tunes and their zealous and emotional style of singing.These folk singers had hardly any knowledge of Hindustani classical music, but their appeal to the masses was irresistible.He, along with his brother the late Bhai Gurcharan Singh and their nephew Bhai Swaran Singh (on tabla) have been performing Kirtan since 1946.He is perhaps the sole exponent of the true style of rendering the 'Partaals' a unique variant of Dhrupad singing, originated by the 4th Guru, Guru Ram Das.From Bhai Rangi Ram came the music of the Udaasi (Ascetic) tradition which had its roots in the lineage of Swami Haridas, and which was passed down to Bhai Avtar Singh by his father.Kirtees) Bhai Avtar Singh has also mastered the rare bow and string instrument of 'Taus', a melower version of the 'Dilruba'.Shabad Kirtan in Gurmat Sangeet tradition.Details of various Ragas
In the Guru Granth Sahib, a number of affirmations have been made about the virtue of the various ragas to induce piety and devotion.On page 838, at the opening of the composition bearing the title Thitin (the dates) in the measure Bilaval, the musical direction is ghar 10, jati.This refers to the particular score in which the music is composed as also to the rhythm on the tabla or drum.Suhi (literally vermilion) is woven into a figure (GG, 785).True joy, however, comes not from melody but from the holy Name of God.Saith Nanak: By contemplation of the Supreme Being through the Master's guidance is egoism from the mind banished.Ever shall ye live in joy (bilaval) and bliss, should you obey the holy Preceptor's will.The Master's teaching have I followed, by Supreme good luck ordained in Primal Time.Day and night have I ever uttered the Lord's praise with devotion for Him in my heart lodged.My mind and body, in bloom, are like a garden fresh.By the lamp of Enlightenment by the Master lit,
The gloom of ignorance is lifted.Nanak, servant of God, finds life from beholding the Lord's face, even though it be for a short hour.As through the Master's land is abloom the lotus of the heart,
On the seeker is bestowed the treasure of devotion.On Sorathi, the same vision is expressed by Guru Nanak and Guru Ram Das.Sorathi is pleasing should it bring to mind the holy Lord.Should garner the wealth of noble attributes, and cast off evil qualities.Malar, the raga associated with the rainy season and joys of romantic love, is thus transmuted into a spiritual experience by Guru Amar Das.This raga is always referred to as "Siri Raga" rather than placing the term raga before the name.It accompanies about 142 sabdas.Possibly it has been reserved purely for gurbani sangit.No information about this raga is available from English sources.The reader is referred to a Punjabi text Gurmat Sangit by Bhai Vir Singh, published by the Chief Khalsa Diwan, Amritsar.GAURI
Gauri is one of several Gauri ragas and appears in the Ragmala as a ragini of Siri Raga.The composition in Gauri is very voluminous.Gauri was used by Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadur.Majh, Gauri Malava, Gauri Mala, Gauri Sorath, Gauri Dakhani.ASA
Asa is a very old raga, once popular in the Punjab but seldom heard in concerts today.However, today it is assigned to the Bilaval thata.Asa is a devotional raga for the cold season and is performed in the early morning just before sunrise.However, it is also known as a twilight melody with a calm mystical mood.Raga Asa was used by Guru Nanak, Guru Angad, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadur.Vadi: Ma
Samvadi: Sa
Asa is a crooked (vakra) raga in that approaches to certain notes have to be made from a set position.This raga may have originated in Maharashtra about the time of the major Muslim invasions.In the Ragmala, Gujari is listed as a ragini of Raga Dipak.Todi belongs to the Todi thata.Todi may be performed during any season of the year and is assigned to the early morning hours.Texts set to this raga strip away all subterfuge and make man see himself as he is and search within for the truth.While not one of the most frequently used ragas, Gujari was the setting for compositions by Guru Nanak, Amar Das, Guru Ram Das, and Guru Arjan.DEVAGANDHARI
Today Devagandhari is a rare, little known, ancient raga.Historically it has had three forms; the less ornamented type is described here.Today it belongs to the Asavari thata.Seven hymns were composed to it including three by Guru Tegh Bahadur and six by Guru Ram Das.BIHAGARA
Bihagara is very similar to the modern and very popular raga Bihag.The performance time is between 9 p.The texts composed to this raga describe the complete peace and response that come to man when he surrenders all to the Lord.Vadahans is considered suitable for the cold season and is assigned to the afternoon hours.Besides Guru Nanak, Sorathi was used by Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadur for a total of 150 hymns plus numerous slokas.The texts composed to this raga show how the words of the Guru can enlighten the mind.All fears vanish and one is filled with bliss.DHANASRI
Raga Dhanasri appears in the Ragmala as a ragini of Malkaunsa and currently is a member of the Kafi thata.It provided the setting for hymns by Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadur for a total of 101 hymns.These texts stress that man reaps what he sows.Vadi: Pa
Samvadi: Sa
Pa is given considerable emphasis and Ni and Pa receive sliding approaches, a characteristic of this raga.The pentatonic ascent provides some of the melodic features of this raga.This is a raga for the late morning hours and the mood is gentle, with an aura of adoration.The texts composed to this raga emphasize that no matter what problems man meets or what worldly affairs distract the mind, devotion to the Lord brings one back to the path of release from worldliness.In the Mesakarna Ragmala (1509), which is almost the same as that of the Guru Granth Sahib, the first ragini of Siri Raga is given as Vairati.However, modern sources do not give Bairari nor Vairati but Barari and Varari as well as Varati are listed.Whether this is the same as the old Bairari is open to question.The possibility always exists that Bairari was a regional tune.Today this raga belongs to the Kah thata and its performance time is late morning.Suhi was used by Guru Nanak, Guru Angad, Guru Amar Das, Guru Ram Das and Guru Arjan for 130 hymns, a var plus many slokas.Bilaval appears in the Ragmala as a ragini of Bhairava, but today it is the head of the Bilaval thata.Bilaval is a morning raga to be sung with a feeling of deep devotion and repose, often performed during the hot months.Such names as Gaunda, Gand, Gounda, Gaundi, Goundgiri, and Gunda appear in classifications from the 11th to the 17th centuries.Gond was used by Guru Ram Das and Guru Arjan (29 hymns).The texts beseech man to depend solely on the Lord for all benefits since it is He who has given him all his blessings.RAMKALI
Ramkali is not given in the Ragmala but is one of the most important ragas of the Guru Granth Sahib.The total number of sabdas comes to over three hundred.The mood is such as to inspire lofty thoughts.Some of the verses also contain analogies to music and musical instruments.Aroh: Sa Ga Ma Pa Dha Ni Sa
Avroh: Sa Ni Dha Pa, M'a Pa Dha Ni Dha Pa, Ga Ma Re Sa
Pakar: Dha Pa, Ma Pa, Dha Ni Dha Pa, Ga, Ma Re Sa
Vadi: Pa .NAT NARAIN
In the Ragmala, Nat is given as putra (son) of Megha while today Nat Narain appears under the Bilaval thata and is assigned to the evening hours.Nat Narain is pictured as a warrior riding to battle.MALI GAURA
Gaura is listed in the Ragmala as a putra (son) of Dipak, but not Mali Gaura.Currently classified under the Marva thata.Guru Ram Das and Guru Arjan composed to this raga 14 hymns included in the Holy Book.Maru was used by Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadur for 144 hymns, two vars plus a large number of slokas.One of its variations is Maru Kafi.The mood is quiet and contemplative.TUKHARI
Tukhari was probably based on a folk tune and was very likely developed by Guru Nanak into a raga for the singing of certain sabdas.No raga of this name appears in the classifications of the period when sabdas were being composed and the Holy Book compiled.Tukhari was used by Guru Nanak, Guru Ram Das and Guru Arjan.It appears to be a raga for the morning hours to be sung in winter.Its name Tukhari is the popular form of tushar (Sanskrit for winter frost).KEDARA
Kedara is an old raga dating from Guru Nanak's time or even earlier which has become a very important and popular North Indian raga today.Kedara was used by Guru Ram Das and Guru Arjan for a few short hymns.Several forms of Kedara have been and still are in use.Thus considerable freedom of choice may be exercised by the performer as to how this raga be performed in association with a given text.The mood is one of contemplation associated with a sort of ascetic idealism.Bhairon (not to be confused with Bhairavi) appears in the Ragmala as husband of Bhairavi and four other raginis.Today it is the head raga for one of the ten thatas.Performed before sunrise, this raga was used by Guru Nanak, Guru Amar Das, Guru Ram Das, and Guru Arjan for 99 hymns.Aroh: Sa Re, Ga Ma Pa Dha, Ni Sa
Avroh: Sa Ni, Dha Dha Pa, Ma Ga, Re Re Sa
Vadi: Dha
Samvadi: Re
The vadis are performed with a slow, wide vibrato which may begin with the vadi itself or the highest limit to which it will extend.In descent the vibrato must begin with upper limit.Otherwise, it is reserved for the night between 9 p.The Ragmala gives Basant as a putra (son) of Hindol, also a spring raga.Today it belongs to the Purvi thata.Saranga, a member of the Kafi thata.Performed during the midday period, its mood is quiet and peaceful.However, Guru Nanak, Guru Amar Das, Guru Ram Das and Guru Tegh Bahadur also composed sabdas to this raga and Guru Angad used it for some slokas.During the monsoons, Malar can be sung at any time of the day or night; otherwise, it is designated for late evening or early morning.Its mood is joyful because the rains cause the crops to grow and the flowers to bloom.Tansen added some changes to Malhar and this raga is known as Mian ki Malhar.Today the Malhar ragas are assigned to the Kafi thata.Under the Kanara spelling this raga was prevalent in the classifications of 16th and 17th centuries.In the Ragmala, Kanara is a putra of Dipak.Assigned to the night hours, its mood is quiet and full of majesty.KALIAN
The Indian Sanskrit name for this raga is Kalyan and the Persian is Yuman.Guru Ram Das and Guru Arjan composed 23 hymns to this raga.JAIJAVANTI
Jaijavanti was used only by Guru Tegh Bahadur for four hymns.This raga does not appear in the Ragmala but was known as Javanta as early as the 14th century.Other Compositions
Besides the sabdas, there are 22 vars or ballads in the Holy Book of the Sikhs which form a class by themselves.Vars in the Guru Granth Sahib also have two or more slokas preceding each pauri.The slokas are recited solo by the dhadis (or ragis) in turn while pauris are sung in unison by the group in traditional tunes of various folk ballads.To some of the vars Guru Arjan, who compiled the Holy Book, added directions with regard to the tunes in which they were to be sung.Besides the contents of the Guru Granth Sahib, compositions of Guru Gobind Singh whose writings form a separate Book, the Dasam Granth, Bhai Gurdas (d.Bhai Nand Lal Goya are approved canon for recitation as part of gurdwara service.Dating from the time of the Gurus, the preservation of the correct performance style has always been a major concern.Mardana is reputed to have been the first to create a school for such training.He, himself, undertook the teaching of the pupils and was particular about the accurate rendering of the sabdas.Some venerable centres have continued over the generations the programme of instruction for gurdwara musicians, among them the one at Daudhar.Sikh music has some limitations placed upon it in order that the religious requirements of the performance may be retained.The purpose of the musical settings of the words of the Gurus is to impress these upon the consciousness of the listeners through emotional as well as intellectual appeal.Therefore, important words of the text should fall on important notes of the raga.Poetic pauses should also be observed.The message must reach the listener through clearly enunciated words.Hymns should be sung with affirmation in a full voice and this gives Sikh music its distinctive character.Tempos may be only slow and medium, not fast.Gamaks or ornaments are limited to those essential to the correct performance of a raga, such as glides between notes, to maintain a connected melodic line.Words must be pronounced clearly and accurately with no adjustments for musical effects.Ragas to be used may include only those specified or authorized, so that the emotional content may not be varied by the ragis.However, the purpose is not to inhibit the creative faculties of the performers lest the vitality of the music be sacrificed.Hand gestures and clapping, so much a part of classical performance, are not in keeping with the required mood of tranquillity.Hence these are totally prohibited.Avtar Singh, Bhai, and Bhai Gurcharan Singh, Gurbani Sangit Prachin Rit Ratnavali.This page has been accessed 13,365 times.
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