GEMS OF GURBANI

Guru Granth Sahib – 4

Spritual devotion in Sikhism is expressed by singing the praises of the Lord or Wahe Guru. The best forms in which classical music or ragas of Indian origin are preserved are in Kirtan form. The praises of God were always sung with musical instruments mostly string and accompanied by percussion instruments. In northern India the art of music was never given that importance and it was reduced to singing by low caste Mirasis. Guru Nanak was also accompanied by Mardana who was a Mirasi and played Rabab. Whenever Wahe Guru’s word descended to Guru Nanak ji he would call Mardana to play his rabab and would sing in his meodious voice. This art of praising the Lord by singing became part of the Sikhism’s mission and all Gurus’s adopted it. This is also known as Kirtan (kirat means praise). Singing with string museum and percussion is an ancient art but it deteriorated to singing the praises of Kings and as entertainment to please their senses. For relaxing they also took help of intoxicants to enjoy.

The ragas are complex set of rules that make a particular melody. Melody’s are sung during a particular time of the day or night, and according to the season of the year. Melody has a direct influence on psycho somatic cells of brain and a mood is created when the melody is playing. Following moods or khayal are documented in the compilation Of Guru Granth Sahib and each chapter is devoted to a particular raga:

1.    Soohi – joy and separation

2.    Bilaaval – happiness

3.    Gaund – strangeness, surprise, beauty

4.    Sri – satisfaction and balance

5.    Maajh – loss, beautification

6.    Gauri – seriousness

7.    Aasa – making effort

8.    Gujri – satisfaction, softness of heart, sadness

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

10. Bihaagra – beautification

11. Sorath – motivation

12. Dhanasari – inspiration, motivation

13. Jaitsree – softness, satisfaction, sadness

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

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

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

17. Raamkali – calmness

18. Nat Narayan – happiness

19. Maali Gaura – happiness

20. Maaru – giving up of cowardice

21. Tukhari – beautification

22. Kedara – love and beautification

23. Bhairav – seriousness, brings stability of mind

24. Basant – happiness

25. Sarang – sadness

26. Malaar – separation

27. Jaijawanti – viraag

28. Kalyaan – Bhakti Ras

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

30. Parbhati – Bhakti and seriousness

31. Kaanra – Bhakti and seriousness

Guru Nanak’s Bani is documented in 19 ragas, Guru Amardas ji’s bani in 17 ragas, Guru Ramdas and Guru Arjun ji’s bani in 30 ragas, Guru Teg Bahadur ji’s bani in 15 ragas. From among bhaktas Kabir ji’s bani is maximum and recorded in 18 ragas. Namdev ji Bani in 18 and Ravidasji’s in 16 ragas.

The uniqueness of Guru Granth Sahib ji is, in not only preserving the ancient ragas but also in that it has provided sacred place to music in singing the praises in the form of Kirtan whereas else where in India it is only alaap.

Guru Ramdasji started the tradition of Kirtan at Darbar Sahib to create an atmosphere of Sodar meaning at the door of the Almighty when a feeling of divine bliss is created and man can engross his mind to the presence of Almighty.