Thursday, June 28, 2007
The Holy Sikh Scripture, Sri Guru Granth Sahib Ji is the main spiritual authority for the Sikhs. The Sikhs hold unique high regards for their Granth (Literally “scripture”), which is treated as a living Guru (“religious master”). When Kirtan is sung, the lyrics are normally lines from the Sri Guru Granth Sahib Ji. The Shabads (“Hymns”) of the Sikh Scriptures are primarily arranged in Chapters, which are names of musical Ragas (“musical theme”). Each of these Ragas is unique and all the Shabads in Guru Sahib have to be sung in that particular Raga. The title of the Shabad also has a numeric notation, which many believe gives the singers a clear idea of the Tala or musical rhythm or beat that needs to be used for that hymn.
Raag Siree Raag, First Section, First House:
If I had a palace made of pearls, inlaid with jewels, Scented with musk, saffron and sandalwood, a sheer delight to behold. Seeing this, I might go astray and forget You, and Your Name would not enter into my mind. II1II
Ragas in Kirtan
Ragas have a direct relationship to human moods and the following are the connections between Ragas and feeling:
Soohi - joy and separation
Bilaaval - happiness
Gaund - strangeness, surprise, beauty
Sri - satisfaction and balance
Maajh - loss, beautification
Gauri - seriousness
Aasa - making effort
Gujri - satisfaction, softness of heart, sadness
Devgandhari - no specific feeling but the Raag has a softness
Bihaagra - beautification
Sorath - motivation
Dhanasari - inspiration, motivation
Jaitsree - softness, satisfaction, sadness
Todi - this being a flexible Raag it is apt for communicating many feelings
Bhairaagi - sadness, (Gurus have, however, used it for the message of *Bhakti)
Tilang - this is a favourite Raag of Muslims. It denotes feeling of beautification and yearning. Raamkali - calmness
Nat Narayan - happiness
Maali Gaura - happiness
Maaru - giving up of cowardice
Tukhari - beautification
Kedara - love and beautification
Bhairav - seriousness, brings stability of mind
Basant - happiness
Sarang - sadness
Malaar - separation
Jaijawanti - viraag
Kalyaan - Bhakti Ras
Vadhans - vairaag, loss
Parbhati - Bhakti and seriousness
Kaanra - Bhakti and seriousness
In connection with Tala or musical beats/rhythms and the ‘Ghar’ in the SGGS, the following can be concluded.
GHAR 1 - DADRA TAAL (There are 1 Taalis and the Beat has 6 Maatraas)
GHAR 2 - RUPAK TAAL (There are 2 Taalis and the Beat has 7 Maatraas)
GHAR 3 - TEEN TAAL (There 3 Taalis and the Beat has 16 Maatraas)
GHAR 4 - CHAAR TAAL (There are 4 Taalis and the Beat has 12 Maatraas)
GHAR 5 - PUNJ TAAL (There are 5 Taalis and the Beat has 15 Maatraas)
GHAR 6 - KHUT TAAL (There are 6 Taalis and the Beat has 18 Maatraas)
GHAR 7 - MUT TAAL (There are 7 Taalis and the Beat has 21 Maatraas)
GHAR 8 - ASHT MANGAL TAAL (There are 8 Taalis and the Beat has 22 Maatraas)
GHAR 9 - MOHINI TAAL (There are 9 Taalis and the Beat has 23 Maatraas)
GHAR 10 - BRAHAM TAAL (There are 10 Taalis and the Beat has 28 Maatraas)
GHAR 11 - RUDRA TAAL (There are 11 Taalis and the Beat has 32 Maatraas)
GHAR 12 - VISHNU TAAL (There are 12 Taalis and the Beat has 36 Maatraas)
GHAR 13 - MUCHKUND TAAL (There are 13 Taalis and the Beat has 34 Maatraas)
GHAR 14 - MAHASHANI TAAL (There are 14 Taalis and the Beat has 42 Maatraas)
GHAR 15 - MISHR BARAN TAAL (There are 15 Taalis and the Beat has 47 Maatraas)
GHAR 16 - KUL TAAL (There are 16 Taalis and the Beat has 42 Maatraas)
GHAR 17 - CHRCHARI TAAL (There are 17 Taalis and the Beat has 40 Maatraas)
Between the Lord and His Saint, there is no difference at all. Among hundreds of thousands and millions, there is scarcely one humble being. Those whose hearts are illuminated by God, sing the Kirtan of His Praises night and day with their tongues. II3II
Facts of Keertan
The Holy Sikh Scripture, Sri Guru Granth Sahib Ji is the main spiritual authority for the Sikhs. The Sikhs hold unique high regards for their Granth (Literally “scripture”), which is treated as a living Guru (“religious master”). When Kirtan is sung, the lyrics are normally lines from the Sri Guru Granth Sahib Ji. The Shabads (“Hymns”) of the Sikh Scriptures are primarily arranged in Chapters, which are names of musical Ragas (“musical theme”). Each of these Ragas is unique and all the Shabads in Guru Sahib have to be sung in that particular Raga. The title of the Shabad also has a numeric notation, which many believe gives the singers a clear idea of the Tala or musical rhythm or beat that needs to be used for that hymn.
Raag Siree Raag, First Section, First House:
If I had a palace made of pearls, inlaid with jewels, Scented with musk, saffron and sandalwood, a sheer delight to behold. Seeing this, I might go astray and forget You, and Your Name would not enter into my mind. II1II
Ragas in Kirtan
Ragas have a direct relationship to human moods and the following are the connections between Ragas and feeling:
Soohi - joy and separation
Bilaaval - happiness
Gaund - strangeness, surprise, beauty
Sri - satisfaction and balance
Maajh - loss, beautification
Gauri - seriousness
Aasa - making effort
Gujri - satisfaction, softness of heart, sadness
Devgandhari - no specific feeling but the Raag has a softness
Bihaagra - beautification
Sorath - motivation
Dhanasari - inspiration, motivation
Jaitsree - softness, satisfaction, sadness
Todi - this being a flexible Raag it is apt for communicating many feelings
Bhairaagi - sadness, (Gurus have, however, used it for the message of *Bhakti)
Tilang - this is a favourite Raag of Muslims. It denotes feeling of beautification and yearning. Raamkali - calmness
Nat Narayan - happiness
Maali Gaura - happiness
Maaru - giving up of cowardice
Tukhari - beautification
Kedara - love and beautification
Bhairav - seriousness, brings stability of mind
Basant - happiness
Sarang - sadness
Malaar - separation
Jaijawanti - viraag
Kalyaan - Bhakti Ras
Vadhans - vairaag, loss
Parbhati - Bhakti and seriousness
Kaanra - Bhakti and seriousness
Taals in Kirtan
In connection with Tala or musical beats/rhythms and the ‘Ghar’ in the SGGS, the following can be concluded.
GHAR 1 - DADRA TAAL (There are 1 Taalis and the Beat has 6 Maatraas)
GHAR 2 - RUPAK TAAL (There are 2 Taalis and the Beat has 7 Maatraas)
GHAR 3 - TEEN TAAL (There 3 Taalis and the Beat has 16 Maatraas)
GHAR 4 - CHAAR TAAL (There are 4 Taalis and the Beat has 12 Maatraas)
GHAR 5 - PUNJ TAAL (There are 5 Taalis and the Beat has 15 Maatraas)
GHAR 6 - KHUT TAAL (There are 6 Taalis and the Beat has 18 Maatraas)
GHAR 7 - MUT TAAL (There are 7 Taalis and the Beat has 21 Maatraas)
GHAR 8 - ASHT MANGAL TAAL (There are 8 Taalis and the Beat has 22 Maatraas)
GHAR 9 - MOHINI TAAL (There are 9 Taalis and the Beat has 23 Maatraas)
GHAR 10 - BRAHAM TAAL (There are 10 Taalis and the Beat has 28 Maatraas)
GHAR 11 - RUDRA TAAL (There are 11 Taalis and the Beat has 32 Maatraas)
GHAR 12 - VISHNU TAAL (There are 12 Taalis and the Beat has 36 Maatraas)
GHAR 13 - MUCHKUND TAAL (There are 13 Taalis and the Beat has 34 Maatraas)
GHAR 14 - MAHASHANI TAAL (There are 14 Taalis and the Beat has 42 Maatraas)
GHAR 15 - MISHR BARAN TAAL (There are 15 Taalis and the Beat has 47 Maatraas)
GHAR 16 - KUL TAAL (There are 16 Taalis and the Beat has 42 Maatraas)
GHAR 17 - CHRCHARI TAAL (There are 17 Taalis and the Beat has 40 Maatraas)
Between the Lord and His Saint, there is no difference at all. Among hundreds of thousands and millions, there is scarcely one humble being. Those whose hearts are illuminated by God, sing the Kirtan of His Praises night and day with their tongues. II3II
