7/22/2019 Guru Granth Sahib Ji Pdf
Sukhmani Sahib in gurmukhi script was written by the Fifth Guru, Guru Arjan Dev ji. This book contains the meaning of Sukhmani SahibSikh Missionary College. 14 Mar Sukhmani Sahib Audio path app let you read and listen to paath on your mobile. You can read Sukhmani Sahib Path in Hindi, in Punjabi or in. Download Sukhmani Sahib Path with Audio and enjoy it on your iPhone, iPad, and iPod touch. Sukhmani or Sukhmani Sahib is the title given to the Gurbani in raga Gauri Sukhmani in the Guru Granth Sahib which English, Hindi, Punjabi.
Reciting the Gurbani of Sukhmani Sahib is believed to bring peace to oneâs mind [13] and aid help remembering God constantly. Abstracts of Sikh Pknjabi.
Sukhmani or Sukhmani Sahib is the title given to the Gurbani in raga Gauri Sukhmani in the Guru Granth Sahib which in turn appears in the major sukhmani sahib paath in punjabi measure Raga Gauri to which it belongs. User can change theme.
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Sukhmani Sahib Audio path app let you read and listen to paath on your mobile. Essence for life of a Sikh Nitnem. According to Sikh doctrine, this Bani is believed to bring peace to oneâs mind and compoundly peace to the world.
Eahib Sohila Paath with Audio.
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Enjoy old and vintage ringtones in your mobile. Sri Guru Granth Sahib Ji. Rehras Sahib Path Audio. Sukh peace and Mani the treasure or jewel of the mind [15] It typically is found in Gutka form small prayer book.
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Worry and anguish shall be dispelled from your body. Those who yearn only for the blessing of Your Darshan â Nanak: Path section of Sukhmani Sahib, which is called an Ashtpadi asht means 8consists of 8 hymns per Ashtpadi.
Favourite Heroes and Holy People. This page was last edited on 17 Sukhmani sahib paath in punjabiat Sukhmani Sahib Path Audio. Description Sukhmani or Sukhmani Sahib is the title given sukhmani sahib paath in punjabi the Gurbani in raga Gauri Sukhmani in the Guru Granth Sahib which in turn appears in the major musical measure Raga Gauri to which it belongs. Family Sharing With Family Sharing set up, up to six family members can use this app. Nitnem Audio â Daily Naam.
Atlantic Publishers and Distribution. By using this site, you agree to the Terms of Use and Privacy Policy. I bow to the Guru of the ages.
I bow to the Primal Guru. The Encyclopedia of Sikhism over Entries Second ed.
Sukhmani Sahib Path with Audio. We hope you will like our app. Purpose of this app is to let busy and mobile young generation reconnect with Sikhism and Gurubani by reading path on mobile.
âSukhmani Sahib Path Audio on the App Store
According to Sikh doctorine, this Bani is believed to bring peace to oneâs mind and compoundly peace to the world. Idea for this app is to bring this holy Sikh recitation prayer anywhere.
CrazyFacts tells you about strange things that you never knew. The word Sukhmani literally means Peace in sukhmani sahib paath in punjabi mind. Language is no bound, as this is available in Hindi and Gurmukhi both Sukhmani Sahib is the name given to the set of hymns divided into 24 sections which appear in the Sri Guru Granth Sahib, the Sikh Holy Scriptures on page Meditate, meditate, meditate in remembrance of Him, and find peace.
Dukh Bhanjani Sahib Audio. Pages with citations lacking titles CS1 errors: Khalsa Sundar Gutka contains the daily and extended Sikh Prayers. Try Google Play with Chrome. This set of Hymns or Bani is very popular among the Sukhmani sahib paath in punjabi, who frequently recite it in their places of worship called Gurdwaras and at home.
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The Sikh and Sikhism. Prominent Sikh saint Baba Nand Singh sukhmani sahib paath in punjabi Nanaksar group 19th century and his band members would sometimes tell Sikhs to recite Sukhmani Sahib twice daily [18] alongside that the Sant would also have Sikhs do contant Akhand Path constant reading of Sukhmani Sahib go sukhmani sahib paath in punjabi which continues to this day. Crazy and Amazing Facts. Dukh Bhanjani Sahib Audio. Shri Guru Nanak Devâs Japji.
Rehras Sahib Path Audio. Essence for life of a Sikh Nitnem. Japji Sahib Paath with Audio. Sukhmani Sahib is divided into 24 Ashtpadi Section.
Surprisingly, many ardent Sikhs include the recitation of this Bani in their daily regimen of Nitnem. Each section of Sukhmani Sahib, which is called an Ashtpadi asht means 8consists of 8 hymns per Ashtpadi.
Sukhmani Sahib
The word Sukhmani literally means Peace in your mind. Try Google Play with Chrome. That one, in whose soul the One Lord dwells â the praises of his glory cannot be recounted. Purpose of this app is to let busy and mobile young generation reconnect with Sikhism and Gurubani by reading path on mobile.
We hope that you will find this app useful and and will use it daily. Sukhmani Sukhmani sahib paath in punjabi Path Audio. His Name is chanted by countless people, in so many ways. The physical site, where the Guru around AD composed this composition was once enclosed by a dense wood. The location is still marked on the bank of the Ramsar pool in the city of Amritsar, near the famous Golden Temple the Harimandir Sahib.
Sukhmani or Sukhmani Sahib is the title sukhmani sahib paath in punjabi to the Gurbani in raga Gauri Sukhmani in the Guru Granth Sahib which in turn appears in the major musical measure Raga Gauri to which it belongs.
âSukhmani Sahib Path with Audio on the App Store
Essence for life of a Sikh Nitnem. Each section suukhmani Sukhmani Sahib, which is called an Ashtpadi asht means 8consists of 8 hymns per Ashtpadi.
The full sukhmani sahib paath in punjabi takes about 90 minutes and is normally undertaken by everyone in the congregation. Sukh peace paat Mani the treasure or jewel of the sukhmani sahib paath in punjabi [15] It typically is found in Gutka form small prayer book.
Japji Sahib Path Audio. I bow to the True Guru. Sukhmani Sahib â With Audio. Khalsa Sundar Gutka contains the daily and extended Sikh Prayers.
Worry and anguish shall be dispelled from your body. Nitnem Audio â Daily Naam. Atlantic Publishers and Distribution.
Language is no bound, as this is available in Hindi and Gurmukhi both Sukhmani Sahib is the name given to the set of hymns divided into 24 sections which appear in the Sri Guru Sukhmani sahib paath in punjabi Sahib, the Sikh Holy Scriptures on page Each section, which is called an Ashtpadi asht means 8consists of 8 hymns per Ashtpadi.
Views Read Edit View history. Aarti Sangrah in Hindi.
The word Sukhmani literally means Peace in your mind. Kirtan Sohila Paath with Audio. English to Oriya Dictionary. Sukhmani Sahib Path with Audio. The word Sukhmani szhib means Peace in your mind. Rehras Sahib Paath with Audio.
From Wikipedia, the free encyclopedia. Before the Ashtpadi begins there is a Salok of two lines and then each Ashtpadi contains eight padas of 10 hymns per pada. Information Seller Veena Rani. This set of Hymns or Bani is very popular among the Sikhs, who frequently recite it in their places of worship called Gurdwaras and at home. Family Sharing With Family Sharing set up, up to six family members can use this app. Languages English, Hindi, Punjabi. Jul 19, Sukhmani sahib paath in punjabi 1.
Sikhism history beliefs Sikh. The Interface with Womenâs Studies. Sundar Gutka Sahib Audio. This app is only available on the App Store for iOS devices.
Sikhism Origin and Development. Methodology in Religious Studies: By using this site, you sukhmani sahib paath in punjabi to the Terms of Use and Privacy Policy.
Those who yearn only for the blessing of Your Darshan â Nanak:
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Guru Granth Sahib (Punjabi: à¨à©à¨°à© à¨à©à¨°à©°à¨¥ ਸਾਹਿਬ/Punjabi pronunciation: [É¡ÊɾuË É¡É¾ÉntÊ°áµ saËhɪb]) is the principal scripture of Sikhism. It was written by the ten gurus of Sikhism and is itself regarded by Sikhs as the final, sovereign, and eternal living guru.[1]Adi Granth, the first rendition, was compiled by the fifth Sikh guru, Guru Arjan. The tenth guru, Guru Gobind Singh, added one shloka, dohra mahala 9 ang, 1429 and all 115 hymns of his father, Guru Tegh Bahadur.[2] This second rendition came to be known as Sri Guru Granth Sahib.[3] After Guru Gobind Singh's death in 1708, Baba Deep Singh and Bhai Mani Singh prepared many copies of the Sri Guru Granth Sahib for distribution.[4]
The text consists of 1,430 angs (pages) and 6,000 Åabads (line compositions),[5][6] which are poetically rendered and set to a rhythmic ancient north Indian classical form of music.[7] The bulk of the scripture is divided into sixty rÄgs, with each Granth rÄga subdivided according to length and author. The hymns in the scripture are arranged primarily by the rÄgs in which they are read.[5] The Guru Granth Sahib is written in the GurmukhÄ« script, in various languages, including Lahnda (Western Punjabi), Braj Bhasha, Khariboli, Sanskrit, Sindhi, and Persian. Copies in these languages often have the generic title of Sant Bhasha.[8]
Guru Granth Sahib was composed by the Sikh Gurus: Guru Nanak Dev, Guru Angad Dev, Guru Amar Das, Guru Ram Das, Guru Arjan Dev, Guru Tegh Bahadur and Guru Gobind Singh added 1 sloakh in mahala 9 Ang 1429. It also contains the traditions and teachings of Indiansants (saints), such as Ravidas, Ramananda, Bhagat Bhikhan, Kabir and Namdev among others, and Muslim Sufi saint Sheikh Farid.[9][10]
The vision in the Guru Granth Sahib is of a society based on divine justice without oppression of any kind.[11][12] While the Granth acknowledges and respects the scriptures of Hinduism and Islam, it does not imply a moral reconciliation with either of these religions.[13] It is installed in a Sikh gurdwara (temple); all Sikhs bow or prostrate before it on entering such a temple.[14] The Granth is revered as eternal gurbÄnÄ« and the spiritual authority in Sikhism.[15]
History[edit]
During the guruship of Guru Nanak Dev, collections of his holy hymns were compiled and sent to distant Sikh communities for use in morning and evening prayers.[16] His successor Guru Angad Dev began collecting his predecessor's writings. This tradition was continued by the third and fifth gurus as well.When the fifth guru Guru Arjan Dev was collecting religious writings of his predecessor, he discovered that pretenders to the guruship were releasing what he considered as forged anthologies of writings of the previous guru and including their own writings with them.[17] In order to prevent spurious scriptures from gaining legitimacy, Guru Arjan Dev began compiling a sacred scripture for the Sikh community.
He finished collecting the religious writings of Guru Ram Das, his immediate predecessor, and convinced Mohan, the son of Guru Amar Das, to give him the collection of the religious writings of the first three gurus.[17] In addition, he sent disciples to go across the country to find and bring back any previously unknown religious writings of theirs. He also invited members of other religions and contemporary religious writers to submit writings for possible inclusion.[17] Guru Arjan pitched a tent by the side of Ramsar tank in Amritsar and started the task of compiling the holy Granth.[18] He selected hymns for inclusion in the Adi Granth and Bhai Gurdas acted as his scribe.[19]
While the holy hymns and verses were being put together Akbar, the Mughal Emperor, received a report that the Adi Granth contained passages vilifying Islam. Therefore, while travelling north, he stopped en route and asked to inspect it.[20]Baba Buddha and Bhai Gurdas brought him a copy of the Adi Granth as it existed then. After choosing three random passages to be read, Akbar decided that this report had been false.[20]
In 1604, Adi Granth was completed and installed at the Harmandir Sahib, with Baba Buddha as the first granthi, or reader.[21][18] Since communities of Sikh disciples were scattered all over northern India, copies of the holy scripture needed to be made for them.[20] The sixth guru added the tunes of 9 out of 22 Vars. Seventh and eighth guru did not have writings of their own added to the holy scripture; however, the ninth guru, Guru Tegh Bahadur, did. The tenth guru, Guru Gobind Singh, included writings of his father Guru Tegh Bahadur in the Guru Granth Sahib,[20] and included 1 salokh in mahala 9 Ang 1429.
In 1704 at Damdama Sahib, during a one-year respite from the heavy fighting with Aurangzeb which the Khalsa was engaged in at the time, Guru Gobind Singh and Bhai Mani Singh added the religious compositions of Guru Tegh Bahadur to Adi Granth to create a definitive compilation.[20] Religious verses of Guru Gobind Singh were not included in Guru Granth Sahib, but he added 1 sloak in mahala 9 Ang 1429. His banis are found in the Sri Dasam Granth, they are part in the daily prayers of Sikhs[20] During this period, Bhai Mani Singh also collected Guru Gobind Singh's religious writings, as well as his court poems, and included them in a secondary religious volume, today known as the Dasam Granth Sahib.[22]
Meaning and role in Sikhism[edit]
Guru Granth Sahib
Sikhs consider the Guru Granth Sahib as the eternal living guru, the highest religious and spiritual guide for Sikhs and inspire all of humanity; it plays a central role in guiding the Sikh's way of life.[citation needed] Its place in Sikh devotional life is based on two fundamental principles:[clarify] on the 'Gurbani' (the word of Guru/God) which was received by the Sikh gurus in their divine consciousness from God and revealed to mankind. The Guru Granth Sahib answers all questions regarding religion and that morality can be discovered within it. The word is the guru and the guru is the word. Thus, in Sikh theology, the revealed divine word was written by past gurus.[citation needed] Numerous holy men, aside from the Sikh gurus, are collectively referred to as Bhagats or 'devotees.'[citation needed]
Elevation of Adi Granth to Guru Granth Sahib[edit]
In 1708 Guru Gobind Singh conferred the title of 'Guru of the Sikhs' upon the Adi Granth. The event was recorded in a Bhatt Vahi (a bard's scroll) by an eyewitness, Narbud Singh,[23] who was a bard at the Rajput rulers' court associated with gurus. A variety of other documents also attest to this proclamation by the tenth guru. Thus, despite some aberrations, Sikhs since then have accepted Guru Granth Sahib, the sacred scripture, as their eternal-living guru, as the embodiment of the ten Sikh Gurus.[citation needed]
Composition[edit]
A composition or Shabad from Guru Granth Sahib
The entire Guru Granth Sahib is written in the Gurmukhi script, which was standardized by Guru Angad Dev in the 16th century. According to Sikh tradition and the Mahman Prakash, an early Sikh manuscript, Guru Angad Dev had taught and spread the Gurmukhi script at the suggestion of Guru Nanak Dev which has invented the Gurmukhi script. [24][25] The word GurmukhÄ« translates to 'from the mouth of the guru'. It descended from the Laá¹á¸Ä scripts and was used from the outset for compiling Sikh scriptures. The Sikhs assign a high degree of sanctity to the GurmukhÄ« script.[26] It is the official script for writing Punjabi in the Indian State of Punjab.
The end part of the handwritten Adi Granth, by Pratap Singh Giani, on the first floor of Harmandir Sahib
Gurus considered divine worship through shabad kirtan as the best means of attaining that state of bliss -vismad- which resulted in communion with God. Guru Granth Sahib is divided by musical settings or ragas[27] into 1,430 pages known as Angs (limbs) in Sikh tradition. It can be categorized into two sections:
A raga is a complex structure of musical melody used in Indian classical music. It is a set of rules of how to build a melody which can ignite a certain mood in the reciter and listeners. The Sikh Holy Scripture, Guru Granth Sahib, is composed in and divided by 60 ragas. Each raga is a chapter or section in the Guru Granth Sahib starting with Asaa raag, and all the hymns produced in Asaa raag are found in this section ordered chronologically by the Guru or other Bhagat that have written hymns in that raga.
Following is the list of all sixty Raags under which Gurbani is written, in order of appearance with page numbers.
1. Asa ------------------------08
2. Gujari --------------------10
3. Gauri Deepaki -------------12
4. Dhanasri ------------------13
5. Gauri Poorabi -------------13
6. Siri ----------------------14
7. Majh ----------------------94
8. Gauri Guarairee ----------151
9. Gauri --------------------151
10. Gauri Dakhani ------------152
11. Gauri Chaitee ------------154
12. Gauri Bairagan -----------156
13. Gauri Poorabi Deepaki -----157
14. Gauri Majh ----------------172
15. Gauri Malva ----------------214
16. Gauri Mala ----------------214
17. Gauri Sorath --------------330
18. Asa Kafi ------------------365
19. Asavari -----------------369
20. Asa Asavari - --------------409
21. Devgandhari ---------------527
22. Bihagra -------------------537
23. Vadhans -------------------557
24. Vadhans Dakhani ------------580
25. Sorath --------------------595
26. Jaitsri --------------------696
27. Todi ----------------------711
28. Bairarri -------------------719
29. Tilang --------------------721
30. Tilang Kafi ----------------726
31. Suhee ----------------------728
32. Suhee Kafi -----------------751
33. Suhee Lalit ----------------793
34. Bilaval --------------------795
35. Bilaval Dakhani ------------843
36. Gound ----------------------859
37. Bilaval Gound --------------874
38. Ramkali --------------------876
39. Ramkali Dakhani ------------907
40. Nut Narayan ----------------975
41. Nut ------------------------975
42. Mali Gaura -----------------984
43. Maru -----------------------989
44. Maru Kafi -----------------1014
45. Maru Dakhani --------------1033
46. Tukhari -------------------1107
47. Kedara --------------------1118
48. Bhairo --------------------1125
49. Basant --------------------1168
50. Basant Hindol -------------1170
51. Sarang --------------------1197
52. Malar ---------------------1254
53. Kanra ---------------------1294
54. Kaliyan ------------------1319
55. Kaliyan Bhopali -----------1321
56. Parbhati Bibhas -----------1327
57. Parbhati ------------------1327
58. Parbhati Dakhani-----------1344
59. Bibhas Parbhati -----------1347
60. Jaijavanti ---------------1352
Contributors[edit]
Map showing birthplace of various contributors of Guru Granth Sahib
Following is a list of contributors whose hymns are present in Guru Granth Sahib:
GurusSelect revered SaintsHistoriansSanctity among Sikhs[edit]
The Mool Mantar in the handwriting of Guru Har Rai
No one can change or alter any of the writings of the Sikh gurus written in the Guru Granth Sahib. This includes sentences, words, structure, grammar, and meanings. Following the example of the gurus themselves, Sikhs observe total sanctity of the holy text of Guru Granth Sahib. Guru Har Rai, for example, disowned one of his sons, Ram Rai, because he had attempted to alter the wording of a hymn by Guru Nanak Dev.[28] Guru Har Rai had sent Ram Rai to Delhi in order to explain Gurbani to the Mughal Emperor Aurangzeb. To please the Emperor he altered the wording of a hymn, which was reported to the guru. Displeased with his son, the guru disowned him and forbade his Sikhs to associate with him or his descendants.
Translations[edit]
A partial English translation of Guru Granth Sahib by Ernest Trumpp was published in 1877. The work was for use by Christian missionaries, and received extremely negative feedback from Sikhs.[29]Max Arthur Macauliffe also partially translated the text for inclusion in his six-volume The Sikh Religion, published by Oxford University Press in 1909. His translations are closer to the Sikhs' own interpretation of the holy scripture, and were received well by them.[30]
The first complete English translation of Guru Granth Sahib, by Gopal Singh, was published in 1960. A revised version published in 1978 removed the obsolete English words like 'thee' and 'thou'. In 1962, an eight-volume translation into English and Punjabi by Manmohan Singh was published by the Shiromani Gurdwara Parbandhak Committee. In the 2000s, a translation by Sant Singh Khalsa (referred to as the 'Khalsa Consensus Translation') became popular through its inclusion on major Sikhism-related websites.[31]
Recitation[edit]
A Granthi reciting from Guru Granth Sahib
Guru Granth Sahib is always the focal point in any gurudwara, seated on a raised platform known as a Takht (throne), while the congregation of devotees sits on the floor and bow before the guru as a sign of respect. Guru Granth Sahib is given the greatest respect and honour. Sikhs cover their heads and remove their shoes while in the presence of this sacred scripture, their eternal living guru. Guru Granth Sahib is normally carried on the head and as a sign of respect, never touched with unwashed hands or put on the floor.[32]It is attended with all signs of royalty, with a canopy placed over it. A chaur sahib is waved above the Guru Granth Sahib. Peacock-feather fans were waved over royal or saintly beings as a mark of great spiritual or temporal status; this was later replaced by the modern Chaur sahib.
The Guru Granth Sahib is taken care of by a Granthi, who is responsible for reciting from the sacred hymns and leading Sikh prayers. The Granthi also acts as caretaker for the Guru Granth Sahib, keeping the Guru Granth Sahib covered in clean cloths, known as rumala, to protect from heat, dust, pollution, etc. The Guru Granth Sahib rests on a manji sahib under a rumala until brought out again.[32]
Printing[edit]
The Gurudwara Ramsar, the official religious body of Sikhs, is responsible for making physical copies of the Guru Granth Sahib. Until 1864, the Gurudwara Ramsar allowed only handwritten copies. Now the basement of its headquarters in Amritsar houses the only printing press authorized to reproduce the Guru Granth Sahib. Since the early 20th century, it has been printed in a standard edition of 1430 Angs. The printers, chosen for their skill and uprightness, adhere to a strict code of conduct.[33]
Misprints, mock-ups, and entire runs and editions, as well as waste with just a single character of the sacred text on it, are incinerated at Goindval.[34] In a process called Agan Bheta, this unused or unpreserved text is burned by itself; no material (such as the typical wood) is added to help 'cremate' it, thus making its burning pure and unadulterated. No handwritten copies are ever destroyed.
Digitization[edit]
The first CD of the Guru Granth Sahib was released in 2000 by Dr. Kulbir Singh Thind which included a full set of Gurbani fonts which he also developed in 1995. [35] In 2000 a British Sikh named Tarsem Singh developed the 'Sikhi to the Max' Guru Granth Sahib search engine which is currently used throughout Sikh diaspora communities around the globe to provide English language translations within gurdwaras. [36] In 2003 the Panjab Digital Library, in collaboration with the Nanakshahi Trust, began digitizing centuries-old copies and manuscripts of the Guru Granth Sahib and other Sikh sacred texts. In 2004 the Sikher project was launched by Jasdeep Singh Khalsa to develop an 'open source' approach to Gurbani translations and app development. [37][38] In 2017, Khalis Foundation, a Californian based non-profit, relaunched Sikhi to the Max based on the open source philosophy promoted by the Sikher project. [39] Another group, called Shabad OS (Open Source), is working on creating a publicly-logged open source and textually accurate database of various texts of the Sikh Cannon with translations and dictionaries for researchers.[40]
References[edit]
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Guru_Granth_Sahib&oldid=903883382'
A raga is a complex structure of musical melody used in Indian classical music. It is a set of rules of how to build a melody which can ignite a certain mood in the reciter and listeners. The Sikh holy scripture, Guru Granth Sahib, is composed in and divided by 60 ragas. Each raga is a chapter or section in the Guru Granth Sahib starting with Asaa raag, and all the hymns produced in Asaa raag are found in this section ordered chronologically by the Guru or other Bhagat that have written hymns in that raga.
Following is the list of all sixty Raags under which Gurbani is written, in order of appearance with page numbers.
1. Asa ------------------------08
2. Gujari --------------------10
3. Gauri Deepaki -------------12
4. Dhanasri ------------------13
5. Gauri Poorabi -------------13
6. Sri ----------------------14
7. Majh ----------------------94
8. Gauri Guarairee ----------151
9. Gauri --------------------151
10. Gauri Dakhani ------------152
11. Gauri Chaitee ------------154
12. Gauri Bairagan -----------156
13. Gauri Poorabi Deepaki -----157
14. Gauri Majh ----------------172
15. Gauri Malva ----------------214
16. Gauri Mala ----------------214
17. Gauri Sorath --------------330
18. Asa Kafi ------------------365
19. Asavari -----------------369
20. Asa Asavari - --------------409
21. Devgandhari ---------------527
22. Bihagra -------------------537
23. Vadhans -------------------557
24. Vadhans Dakhani ------------580
25. Sorath --------------------595
26. Jaitsri --------------------696
27. Todi ----------------------711
28. Bairarri -------------------719
29. Tilang --------------------721
30. Tilang Kafi ----------------726
31. Suhee ----------------------728
32. Suhee Kafi -----------------751
33. Suhee Lalit ----------------793
34. Bilaval --------------------795
35. Bilaval Dakhani ------------843
36. Gound ----------------------859
37. Bilaval Gound --------------874
38. Ramkali --------------------876
39. Ramkali Dakhani ------------907
40. Nut Narayan ----------------975
41. Nut ------------------------975
42. Mali Gaura -----------------984
43. Maru -----------------------989
44. Maru Kafi -----------------1014
45. Maru Dakhani --------------1033
46. Tukhari -------------------1107
47. Kedara --------------------1118
48. Bhairo --------------------1125
49. Basant --------------------1168
50. Basant Hindol -------------1170
51. Sarang --------------------1197
52. Malar ---------------------1254
53. Kanra ---------------------1294
54. Kaliyan ------------------1319
55. Kaliyan Bhopali -----------1321
56. Parbhati Bibhas -----------1327
57. Parbhati ------------------1327
58. Parbhati Dakhani-----------1344
59. Bibhas Parbhati -----------1347
60. Jaijavanti ---------------1352
Raags are used in Sikh music simply to create a mood, and are not restricted to particular times. A mood can be created by the music of the raag regardless of the time of day. There are a total of 60 raags or melodies within the Guru Granth Sahib. Each melody sets a particular mood for the hymn, adding a deeper dimension to it. The Guru Granth Sahib is incorrectly thought by many to have just 31 raags or melodies. Raag data kindly provided by Prof. Surinder Singh from Raj Academy (UK).
1. Raag Aasaa (à¨à¨¸à¨¾) â Aasaa has strong emotions of inspiration and courage. This Raag gives the listener the determination and ambition to put aside any excuses and to proceed with the necessary action to achieve the aim. It generates feelings of passion and zeal to succeed and the energy generated from these feelings enables the listener to find the strength from within to achieve success, even when the achievement seems difficult. The determined mood of this Raag ensures that failure is not an option and motivates the listener to be inspired.
2. Raag Gujari (à¨à©à¨à¨°à©) â If there is a perfect simile for Raag Gujari, it would be that of a person isolated in the desert, who has their hands cupped, holding water. However, it is only when the water begins to slowly seep through their joined hands that the person comes to realise the real value and importance of the water. Similarly Raag Gujari leads the listener to realise and become aware of passing time and in this way comes to value the precious nature of time itself. The revelation brings the listener to an awareness and admission of their own death and mortality, making them utilize their remaining âlife timeâ more wisely.
3. Raag Gauri Deepaki (à¨à¨à©à© ਦà©à¨ªà¨à©) â In the Guru Granth Sahib, there is one shabad (hymn) under the title Raag Gauri Deepaki. In this shabad, Sohila is a lorrie (lullaby), which is narrating a kind of bedtime story. This Raag generates feelings of warmth and security, just like a mother singing a lullaby to her child. Lullabies were traditionally used not only as a way of comforting a child, but also as a means in which mothers shared their past experiences and knowledge.Similarly this Raag enlightens the listener through knowledge and experience and brings them to the realization that to gain the truth, you must first realize that you are in darkness. This enlightened state gives the listener a feeling of certainty, fearlessness and a new hope for the future.
4. Raag Dhanasari (ਧਨਾਸਰà©) â Dhanasari is a sense of being completely carefree. This sensation arises from a feeling of contentment and ârichnessâ from the things we have in our lives and gives the listener a positive and optimistic attitude towards the future.
5. Raag Gauri Purbi (à¨à¨à©à© ਪà©à¨°à¨¬à©) â Gauri Purbi contains strong emotions of experience along with feelings of preparation, in order to go further and to achieve more. Although there are confident feelings in this Raag, there is a sense of uncertainty as there is a heartfelt request for help to achieve the desired goal. The sentiments of this Raag are well considered assessments of the circumstances, without excess confidence or extreme helplessness.
6. Raag Siri Raag (ਸਿਰ੠ਰਾà¨à©) â The basis of this Raag is steeped in the traditions of mainstream Indian Classical music. Siri Raag is serious and thought provoking in its nature and creates an atmosphere where the listener is led to heed the advice given therein. The listener (the mind) is made aware of the truth of the message and with this âeducationâ is given the strength to face the future with both humility and the âgainedâ knowledge.
7. Raag Majh (ਮਾà¨) â Raag Majh was composed by the Fifth Sikh Guru (Shri Guru Arjun Dev ji). The Raag's origins are based in Punjabi Folk Music and its essence was inspired by the Majha regions traditions of âAusianâ; the game of waiting and yearning for the return of a loved one. The feelings evoked by this Raag have often been compared to that of a mother waiting for her child to return after a long period of separation. She has an anticipation and hope for the child's return, although at the same moment she is painfully aware of the uncertainty of their return home. This Raag brings to life the emotion of extreme love and this is highlighted by the sorrow and anguish of separation.
8. Raag Gauri Guarairi (à¨à¨à©à© à¨à©à¨à¨°à©à¨°à©) â Gauri Guarairi contains a mixture of calmness and control in feeling, however the emotional message of the Raag is open and truthful in its approach. The emotions are conveyed in a direct and disciplined way. The balanced and focused character of this Raag is evident in its structure, in that its scale is restricted to âmadh saptakâ (middle scale).
9. Raag Gauri (à¨à¨à©à©) â Gauri creates a mood where the listener is encouraged to strive harder in order to achieve an objective. However, the encouragement given by the Raag does not allow the ego to increase. This therefore creates the atmosphere where the listener is encouraged, but still prevented from becoming arrogant and self-important.
10. Raag Gauri Dakhani (à¨à¨à©à© ਦà¨à¨£à©) â Gauri Dakhani has a similar nature to Gauri; however, the South Indian style of this Raag, including the taal (rhythm) highlights the strict and disciplined aspect of Gauri.
11. Raag Gauri Chayti (à¨à¨à©à© à¨à©à¨¤à©) â Gauri Chayti generates a deliberate sensation of fear by creating a conscious reminder of what may occur if we loose the things we take for granted. It awakens feelings of panic and regret, by exposing the listener to the possible outcome of what might happen should this warning not be heeded.
12. Raag Gauri Bairagan (à¨à¨à©à© ਬà©à¨°à¨¾à¨à¨£à¨¿) â As the title suggests Gauri âBairaganâ is a Raag of bairaag (sadness of separation). The listener is left with an intense feeling of sorrow and emptiness. However, the balance of Raag Gauri ensures that this sense of loss and sadness motivates the listener to try to discover exactly what is missing. Gauri Bairagan therefore evokes feelings of sadness, which become a lesson, as opposed to creating a sense of depression.
13. Raag Gauri Purbi Deepaki (à¨à¨à©à© ਪà©à¨°à¨¬à© ਦà©à¨ªà¨à©) â The tone of this Raag is that of self-assessment with a positive attitude of improvement. It creates an atmosphere of constantly progressing with confidence and experience, as well as instilling a positive belief of enduring achievement.
14. Raag Gauri Majh (à¨à¨à©à© ਮਾà¨) â Gauri Majh is a well-planned emotional âactâ, which reaches out to fulfil a yearning created by the Raag. This yearning is similar to that of Raag Majh's regret, hope and anticipation, however in this instance it is created deliberately in order to sway the listener to react to the longing.
15. Raag Gauri Malva (à¨à©à©à© ਮਾਲਵਾ) â Gauri Malva is based on Punjabi Folk music and is influenced by the âMalvaâ region of Punjab and the Malvaee hospitality. The nature of this Raag can be compared to the thoughtful, very serious, yet caring advice given by a true friend. The Raag persuades the listener with such truth and friendliness, that it is impossible to disagree, even if the listener does not like the advice being given.
16. Raag Gauri Mala (à¨à¨à©à© ਮਾਲਾ) â The essence of Gauri Mala is a combination of good, pure, true and positive thoughts added together one by one. There is a feeling of having worked hard and an increased energy, which encourages more devotion towards the truth.
17. Raag Gauri Sorath (à¨à¨à©à© ਸà©à¨°à¨ ਿ) â Gauri Sorath has a definite feeling of attraction and appeal, which woos the listener's attention to the subject matter or target. However, the feelings of being enticed and lured are balanced with a sense of duty and realisation, of needing to obey the warning given.
18. Raag Aasaa Kafi (à¨à¨¸à¨¾ à¨à¨¾à¨«à©) â Aasaa Kafi has a carefree and self-assured nature. It is confident in its outlook and does not hold onto any false hopes. The feelings of boundless energy, along with the confidence gained by previous experiences, create an inspirational atmosphere for the listener.
19. Raag Asavari (à¨à¨¸à¨¾à¨µà¨°à©) â Asavari has an atmosphere of real energy and enthusiasm, which encourages the listener to complete the necessary tasks. However, the mood of this Raag is genuine and there is therefore no pretence of showing off its hardworking nature.
20. Raag Aasaa Asavari (à¨à¨¸à¨¾ à¨à¨¸à¨¾à¨µà¨°à©) â Aasaa Asavari provides a sense of assurance to achieve your desired goal with courage, love and confidence. It is a precise direction toward achieving a set outcome, with confidence and positivity fuelled with a burst of energy. The nature of this raag is to produce a strong sense of capability in the listener, converting energy into passion with the motivation to repeat this positivity. The strength of this raag churns out the best of a personality providing the individual with the necessary knowledge to bring thoughts into action.
21. Raag Devgandhari (ਦà©à¨µà¨à©°à¨§à¨¾à¨°à©) â Devgandhari conveys the feeling of satisfaction that comes from making an achievement. These emotions make the listener feel empowered to do more and diminish any feelings of laziness. This state of satisfaction is that of extreme happiness and contentment, and leaves the listener with the feeling of being in paradise.
22. Raag Bihagara (ਬਿਹਾà¨à©à¨¾) â The mood of Bihagara is that of extreme sadness and pain, which gives rise to the need to find peace and understanding. The heightened emotional state of sadness is only harnessed by the craving for truth and meaning.
23. Raag Vadhans (ਵਡਹੰਸà©) â Vadhans is based on Punjabi Folk music and is set in the traditions of âGhoreeaâ, âSuhagâ and âAlohnianâ. The feelings instilled by this Raag can be compared to those of a bride on the day of her wedding; she is happy and sad. Although she is going to her groom, who fills her with hope and joy, she is also sad to be leaving her family.
24. Raag Vadhans Dakhani (ਵਡਹੰਸ੠ਦà¨à¨£à©) â The mood of this Raag is very similar to Raag Vadhans, however due to its South Indian style of expression, it is more disciplined in its nature.
25. Raag Sorath (ਸà©à¨°à¨ ਿ) â Sorath conveys the feeling of having such a strong belief in something that you want to keep repeating the experience. In fact this feeling of certainty is so strong that you become the belief and live that belief. The atmosphere of Sorath is so powerful, that eventually even the most unresponsive listener will be attracted.
26. Raag Jaitsiri (à¨à©à¨¤à¨¸à¨°à©) â Jaitsiri conveys the heartfelt emotion of not being able to live without someone. Its mood is preoccupied with feelings of dependence and an overwhelming sense of desperately reaching out to be with that person.
27. Raag Todi (à¨à©à¨¡à©) â Todi consists of both wisdom and humbleness. It is through these sentiments that the Raag takes a simple approach to explain things that we may be aware of, but fail to ponder upon. The Raag draws the attention of the listener to contemplate these things and gives an explanation with such conviction, that we are compelled to agree.
28. Raag Bairari (ਬà©à¨°à¨¾à©à©) â Bairari stimulates the feeling of improving and continuing with a task, which has already been accomplished. It is an unmoving belief that what has been achieved is true and positive, which leads to a hunger and desire to progress to the next stage. Although there is immense confidence in the achievement, there is no conceit or vanity in the accomplishment.
29. Raag Tilang (ਤਿਲੰà¨) â Tilang is full of the feeling of having tried hard to impress, but the feeling that the effort made has not been appreciated. However, the atmosphere is not of anger or upset, but of brooding, as the person you are trying to impress is very dear to you.
30. Raag Tilang Kafi (ਤਿਲੰਠà¨à¨¾à¨«à©) â As with Tilang, this Raag contains the feeling that your effort has been unappreciated, when trying to impress someone. However, in contrast to Raag Tilang, the individual is unperturbed by this feeling. This differentiating aspect arises from the deep love for the person concerned, which prevents the individual from becoming annoyed at the apparent lack of approval.
31. Raag Suhi (ਸà©à¨¹à©) â Suhi is an expression of such devotion that the listener experiences feelings of extreme closeness and undying love. The listener is bathed in that love and genuinely comes to know what it means to adore.
32. Raag Suhi Kafi (ਸà©à¨¹à© à¨à¨¾à¨«à©) â Suhi Kafi expresses feelings of deep love and security, like that of a child and a parent. A young child feels secure and safe, when surrounded in their parents love. The love felt is so strong that there are no worries and the individual gains a certain confidence from being so secure.
33. Raag Suhi Lalit (ਸà©à¨¹à© ਲਲਿਤ) â Suhi Lalit contains feelings of emotional resolve. However, there is also a volatile characteristic in that although there is love in these emotions, there is a willingness to step over the line to attain the goal.
34. Raag Bilaval (ਬਿਲਾਵਲ) â Bilaval conveys the emotions of great happiness that come from having attained a goal or achieved an aim. It is an overwhelming feeling of fulfilment, satisfaction and joy, that is experienced when the accomplishments is very important and dear to you. The happiness felt is like laughing out loud, there is no planning or any ulterior motive; it's just a natural expression of heartfelt happiness arising from a sense of achievement.
35. Raag Bilaval Dakhani (ਬਿਲਾਵਲ ਦà¨à¨£à©) â This Raag is full of energy, which is shown by the fast rhythm and singing of the South Indian style of expression. The feelings of Bilaval Dakhani are of confidence and happiness, which arises from having achieved the unachievable.
36. Raag Gond (à¨à©à¨à¨¡) â Gond is an expression of triumph, however these feelings are balanced and in perspective ensuring that there is also an aspect of humility. Therefore, although there is a sense of knowing and understanding the achievement, there is not a feeling of becoming obsessed or getting lost in the achievement itself.
37. Raag Bilaval Gond (ਬਿਲਾਵਲ à¨à©à¨à¨¡) â Bilaval Gond consists of emotions of courage and conviction. The atmosphere created by the Raag is that of abstract happiness, however it is still disciplined enough to not be out of control. This Raag expresses its emotions poignantly, with insight and has a thoughtful strategy. It expresses feelings of confidence and happiness, but without any pride.
38. Raag Ramkali (ਰਾਮà¨à¨²à©) â The emotions in Ramkali are like those of a wise teacher disciplining their student. The student is aware of the pain of learning, but is still conscious of the fact that ultimately it is for the best. In this way Ramkali conveys the change from all that we are familiar with, to something we are certain will be better.
39. Raag Ramkali Dakhani (ਰਾਮà¨à¨²à© ਦà¨à¨£à©) â The emotions created by Ramkali Dakhani are those of change from old to new and there is a surety that this alteration is advantageous. These feelings are highlighted and emphasised by the South Indian rhythm and style of expression.
40. Raag Nat Narayan (ਨਠਨਾਰਾà¨à¨¨) â Nat Narayan consists of feelings of hastiness and impatience, however simultaneously there is stability and control. Although there is control in the Raag, there is still the impression that it is unbalanced and prone to topple at any time.
41. Raag Nat (ਨà¨) â Nat creates the impression of being wild and uncontrollable and appears extreme in its feeling. It conveys the feeling of being out of control and on the edge, however it returns from the brink, by reestablishing control and stability, and hence creating a sense of relief. This Raag uses its expertise in this way to create feelings of suspense.
42. Raag Mali Gaura (ਮਾਲ੠à¨à¨à©à¨¾) â Mali Gaura conveys the confidence of an expert, whose knowledge is self-evident in both their outlook and actions. This knowledge is learned through experience and therefore creates an air of âcoolnessâ. However, this sense of âcoolnessâ is an aspect of true happiness because you have learned how to manage things with expertise and skill.
43. Raag Maru (ਮਾਰà©) â Maru was traditionally sung on the battlefield in preparation for war. This Raag has an aggressive nature, which creates an inner strength and power to express and emphasise the truth, regardless of the consequences. Maru's nature conveys the fearlessness and strength that ensures the truth is spoken, no matter what the cost.
44. Raag Maru Kafi (ਮਾਰ੠à¨à¨¾à¨«à©) â Although Maru Kafi is forceful and blunt in its nature, it still expresses its emotions in a sweet and attractive way. This Raag is uncompromising in its nature, yet it retains the ability and charm to win the listener over with its relaxed and self-assured approach. As the listener, it makes you feel willing to listen even though the sentiments are harsh and direct.
45. Raag Maru Dakhani (ਮਾਰ੠ਦà¨à¨£à©) â Maru Dakhani expresses feelings of truth and reality in an uncompromising and outspoken way, which is emphasised by the South Indian style of expression and taal.
46. Raag Tukhari (ਤà©à¨à¨¾à¨°à©) â Tukhari conveys the soul's strong ambition to highlight the greatness of The Creator to the mind. This goal is of paramount importance to the soul and it will therefore, not give up even if stubborn mind is unresponsive. This Raag illustrates the soul's focus on its goal, by conveying its message to the mind directly and then adopting a softer approach. The feelings of this Raag are dominated by the soul's burning desire to convince the mind to follow its plan of enlightenment and hence becoming one with Akaal (God).
47. Raag Kedara (à¨à©à¨¦à¨¾à¨°à¨¾) â Kedara expresses and makes the mind aware of the true character and nature of the soul. It conveys the emotions of honesty, integrity and truthfulness in a practical and caring way. This approach highlights the soul's character and is memorable, so that the mind is made aware, without arousing cynicism.
48. Raag Bhairao (à¨à©à¨°à©³) â Bhairao embodies the soul's faith and heartfelt devotion towards The Creator. It is a kind of fanaticism, where there is a feeling of not being aware or caring about anything else. The emotions conveyed are those of contentment and of being absorbed in a steadfast belief or faith. In this Raag, the soul is relaying the happiness that the mind could potentially experience if it joined in with this devotion
49. Raag Basant (ਬਸੰਤà©) â Basant denotes the changing of the season and the newness of spring. This Raag encourages the mind to brush away its selfishness, just like spring-cleaning removes all the cobwebs and creates a fresh start. There are feelings of hope and expectation of a new beginning and the start of a new cycle. However, these emotions are not dependent on the physical change of the season, but are an encouragement of an internal effort to change.
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50. Raag Basant Hindol (ਬਸੰਤ੠ਹਿੰਡà©à¨²) â Basant Hindol conveys the freshness and happiness of a new start and expresses the type of contentment, which comes from working hard to make a change. This Raag is full of hope and creates a sense of being at ease and being satisfied because a new chapter is beginning.
51. Raag Sarang (ਸਾਰੰà¨) â Sarangs character is soothing and has the ability to extinguish the minds smouldering selfishness and negative nature. The emotions of Sarang quench the minds burning desires, by expressing and highlighting the soul's pure and true thoughts. This is a positive and fulfilling change.
52. Raag Malhar (ਮਲਾਰ) â Malhar is a communication of feelings from the soul, to show the mind how to become cool and refreshed. The mind is always burning with the desire to reach its goals quickly and without effort, however the emotions conveyed in this Raag are able to bring composure and fulfilment to the mind. It is able to bring the mind into this calmness, bringing a sense of satisfaction and contentment.
53. Raag Kaanara (à¨à¨¾à¨¨à©à¨¾) â Kaanara invokes feelings of being overcome by a personality, which is so impressive that its character is difficult to stop thinking about. The personality conveyed has a magnetism, which makes you think of them as your own and is able to win you over with its remarkable qualities and outlook.
54. Raag Kalian (à¨à¨²à¨¿à¨à¨¨) â Kalian has a forceful, yet flexible nature. It conveys a desire for something and a resolve to attain it, by whatever means possible. Although determined in its desire, Kalian sometimes uses an accommodating approach and at other times has an aggressive approach, in order to reach its goal. This Raag has a determined, forceful, yet persuasive character, through which it fulfils its desire.
55. Raag Kalian Bhopali (à¨à¨²à¨¿à¨à¨¨ à¨à©à¨ªà¨¾à¨²à©) â Kalian Bhopali's nature is direct and insistent. Just as in Kaliyaan, this Raag conveys the feeling of determination to fulfil its desires. However, in contrast it is not flexible in its approach, as the desired goal is tackled head-on and in a regimented fashion. There is no hesitation and it is only focused on its goal.
56. Raag Parbhati Bibhas (ਪà©à¨°à¨à¨¾à¨¤à© ਬਿà¨à¨¾à¨¸) â Parbhati Bibhas expresses the feelings of compromise between the mind and the soul; a common understanding between the selfishness of the mind and the devotion of the soul evolves. The atmosphere created is like the calmness and serenity of daybreak, along with a sense of preparation for the day to unfold. The âpartaalâ rhythm represents the change in the method, which is induced by compromise, however it also highlights the balance of concentration.
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57. Raag Parbhati (ਪà©à¨°à¨à¨¾à¨¤à©) â The emotions conveyed in Parbhati are those of extreme devotion; there is an intense confidence and love for the entity it is devoted to. This affection arises from knowledge, common sense and a detailed study. There is therefore an understanding and a considered will to devote itself to that entity.
58. Raag Parbhati Dakhani (ਪà©à¨°à¨à¨¾à¨¤à© ਦà¨à¨£à©) â The nature of Parbhati Dakhani is very similar to that of Parbhati, except that the feelings of devotion are more disciplined. This discipline arises from the South Indian style of expression of this Raag.
59. Raag Bibhas Parbhati (ਬਿà¨à¨¾à¨¸ ਪà©à¨°à¨à¨¾à¨¤à©) â Bibhas Parbhati has a self-assured character and has a sense of certainty, which arises from the knowledge gained through awareness. It conveys the wisdom achieved from learning, which inspires contentment. However, this wisdom is not arrogant, but is gentle in its persuasion because there is not a need to âshow-offâ this knowledge, but a desire to share it, so the recipient is able to learn.
60. Raag Jaijavanti (à¨à©à¨à¨¾à¨µà©°à¨¤à©) â Jaijavanti expresses the feeling of happiness and satisfaction of achievement, however it simultaneously conveys the sadness of losing. An apt simile for this Raag is that of a king winning a battle, however he is then told that his son has perished on the battlefield. This Raag conveys a sense of having to put your duty first, no matter what your inner feelings may be. The duality of the emotions of joy and sorrow help to keep you stable and prevent you reveling in your own achievement.
References[edit]
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