Raags in Gurbani

Can we have some vichaar on the different Raags in Gurbani, such as the history behind each Raag, history behind their names, history behind the bhaav that Guru Sahib expresses in each Raag? I know each Raag has a time and a specific spiritual emotion attached to it. But just curious to know more.

Thanks!

Great question jeeo - let start with this link initally:

[www.sikhiwiki.org]

next is for one to organise ones keertan listening as per time cycle on itunes or whatever - i have done this by keertan of Bhai Balbir Singh's raag guldasta - then one must try to listen with high intense concentration in that timezone in that raag - the experince is out of this world!!!

Common Themes of Shabads placed under Raags of Siri Guru Granth Sahib Jee

Soohi - Being away from home. The soul being away from the House of Lord and the joy of meeting the true husband.
Bilaaval - beautification of soul, happiness.
Gaund - Separation, union, surprise.
Sri - Maya and detachment
Maajh - yearning to merge with Lord, giving up of negative values.
Gauri - Principles, serious, thoughtfulness, composed
Aasa - Hope
Gujri - Prayer (Pooja)
Devgandhari - Merging with spouse, self - realization
Bihaagra - Yearning due to separation of soul and happiness due to meeting the Lord.
Sorath - Merits of God
Dhanasari - Mixed theme
Jaitsree - Stability
Todi - Maya, separation
Bairagi - motivation to sing praises of Lord
Tilang - many words from the vocabulary of Islamic origins are used, sadness, beautification.
Raamkali - to give up the life of a wandering Jogi.
Nat Narayan - Joy of meeting the Lord
Maali Gaura - Happiness
Maaru - Bravery
Tukhari - Separation and union with Lord
Kedara - Love
Bhairav - Man's state of hell
Basant - Happiness
Sarang - Thirst to meet God
Malaar - State of separated and united soul
Jaijawanti - Vairaag (Detachment)
Kalyaan - Bhakti (Prayer) Ras
Vadhans - Vairaag (Detachment)
Parbhati - Bhakti (Prayer)
Kaanra - Bhakti (Prayer)

Feelings communicated by the melodies of Raags

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 (that is why Alahniya is sung in this Raag when someone passes away)
Parbhati - Bhakti and seriousness
Kaanra - Bhakti and seriousness

Taken from Dr Sukhbir Singh Kapoor

All raags have different singing times, seasons and style more in depth can be found at :- Gurbani Raags - SearchGurbani.com

Hope This Helps Jee


Amanjot Singh

Veer Amanjot Singh jee, thanks so much! That was sort of what I was looking for!

this "common moods" list is not exactly in line with gurmat as far as akhand keertan smagams have shown us IMHO. even in experiences from smagams in Bhai sahibs times, Singh's did not give any care about what raag was sung when and the "mood" was constantly anand mayee and bairaagee etc etc all the time. gur shabad and avastha is what really matters instead of raag times, IMHO. bhul chuk maaf if I'm wrong in advance.

Bhagatjot Singh Wrote:
-------------------------------------------------------
> this "common moods" list is not exactly in line
> with gurmat as far as akhand keertan smagams have
> shown us IMHO. even in experiences from smagams in
> Bhai sahibs times, Singh's did not give any care
> about what raag was sung when and the "mood" was
> constantly anand mayee and bairaagee etc etc all
> the time. gur shabad and avastha is what really
> matters instead of raag times, IMHO. bhul chuk
> maaf if I'm wrong in advance.


I dont understand what you are saying - that all raag vidyaa within Gurbani is worth nothing or we dont need to careful or respect it or learn it?????

Gurshabad and avasstha does matter i agree - how that Avastha will come about through raag or not no one can answer.

There are singhs in the AKJ when they sing raag or not it's out of this world -it's about love at the end of the day whether raag or not - do you not agree or is that what you are trying to say?

No one is talking of commerical keertnyias here

it is all about the prem at the end of the day. singing in raag vs not will make no difference in the amount of love one can have. raag keertan or non-raag Keertan, one shouldn't hold precedence over the other.

ma 3 |
Third Mehl:

bilaaval thab hee keejeeai jab mukh hovai naam |
Be happy and sing in Bilaaval, when the Naam, the Name of the Lord, is in your mouth.

raag naadh sabadh sohanae jaa laagai sehaj dhiaan |
The melody and music, and the Word of the Shabad are beautiful, when one focuses his meditation on the celestial Lord.

raag naadh shodd har saeveeai thaa dharageh paaeeai maan |
So leave behind the melody and music, and serve the Lord; then, you shall obtain honor in the Court of the Lord.

naanak guramukh breham beechaareeai chookai man abhimaan |2|
O Nanak, as Gurmukh, contemplate God, and rid your mind of egotistical pride. ||2||

Sometimes I feel raags can have a profound effect on your emotional attachment and your heartfelt emotions related to certain pankthiyaa in gurbaani

Raag isn't a mandatory tool.. but it is available for people that need it to get attached to gurbaani..


Sometimes raags can be quite helpful in becoming attached

Like for instance.. from the above post raag basant I don't think necessarily denotes happiness
that is inaccurate. raag basant makes you strong.. it is suppose to give your mind strength... because the shabad thum saach dhiyaavo mugad mana... is encouraging.. more like scolding your mind... to jap naam.. and the certain sur that are attached to that.. really do make your mind want to jap naam...

here is a more detailed account of raags

Raag Maajh ~ Ang 94-150. •A cultural raag.
•Inspires longing for the Beloved Divine.
•Time of day to sing is 3 pm to 6 pm.
•Rainy season Warkha mid July up to mid September.

3.Raag Gaourree ~ Ang 141-346. •An important raag with 12 sub variations.
•Inspires contemplation.
•Time of day to sing is 3 pm to 6 pm.
•Fall season Sisar mid November up to mid January.

4.Raag Asa ~ Ang 347-488. •A rare raag.
•Inspires spiritual devotion in the cool mystic hours before dawn.
•Time of day to sing is 3 am to 6 am.
•Winter season Him mid January up to mid March.

5.Raag Gujree ~ Ang 489-536. •An old time raag.
•Inspires deep soulful and heartfelt thought.
•Time of day to sing is 9 am to 12 noon.
•Rainy season Warkha mid July up to mid September.

6.Raag Daev Gandharee ~ Ang 527-536. •An ancient raag.
•Inspires fervent appeal.
•Time of day to sing is 6 am to 9 am.
•Fall season Sisar mid November up to mid January.

7.Raag Bihagra ~ Ang 537-556. •A contemporary raag.
•Inspires spiritual serenity.
•Time of day to sing is 9 pm to 12 midnight.
•Winter season Him mid January up to mid March.

8.Raag Vadhans ~ Ang 557-594. •A rare raag.
•Inspires gentle sensitivity.
•Time of day to sing is 12 noon to 3 pm.
•Fall season Sisar mid November up to mid January.

9.Raag Sorath ~ Ang 595-659. •A pleasant raag.
•Inspires enlightened cheer.
•Time of day to sing is 9 pm to 12 midnight.
•Autumn season Sarad mid September up to mid November.

10.Raag Dhanasaree ~ Ang 660-695. •A cheery raag.
•Inspires joyful adoration.
•Time of day to sing is 12 noon to 3 pm.
•Fall season Sisar mid November up to mid January.

11.Raag Jaitsree ~ Ang 696-710. •An ancient raag.
•Inspires meditative surrender to the mystery of the Divine.
•Time of day to sing is 6 pm to 9 pm.
•Fall season Sisar mid November up to mid January.

12.Raag Todee ~ Ang 711-718. •A foremost raag.
•Inspires adoring praise.
•Time of day to sing is 9 am to 12 noon.
•Fall season Sisar mid November up to mid January.

13.Raag Bairaree ~ Ang 719-720. •A regional raag.
•Inspires gentle compassion.
•Time of day to sing is 6 pm to 9 pm.
•Autumn season Sarad mid September up to mid November.

14.Raag Tilang ~ Ang 721-727. •A favored Raag.
•Inspires quiet pleasure.
•Time of day to sing is 3 pm to 6 pm.
•Rainy season Warkha mid July up to mid September.

15.Raag Soohee ~ Ang 728-794. •A favored morning raag.
•Inspires happy fulfillment.
•Time of day to sing is 9 am to noon.
•Warm spring season Basant mid March up to mid May.

16.Raag Bilaval ~ Ang 795-858. •A basic raag.
•Inspires devotional tranquility.
•Time of day to sing is 9 am to 12 noon.
•Warm spring season Basant mid March up to mid May.

17.Raag Gond ~ Ang 859-875. •A regional raag.
•Inspires solemn contemplation.
•Time of day to sing is 9 am to 12 noon.
•Winter season Him mid January up to mid March.

18.Raag Ramkalee ~ Ang 876-974. •A raag of foremost importance.
•Inspires elevated thinking.
•Time of day to sing is sunrise 6 am to 9 am.
•Warm spring season Basant mid March up to mid May.

19.Raag Nat Narayan ~ Ang 975-983. •A stirring raag.
•Inspires a crusading spirit.
•Time of day to sing is 9 pm to 12 midnight.
•Rainy season Warkha mid July up to mid September.

20.Raag Malee Goura ~ Ang 984-988. •An antiquated raag.
•Inspires joyful content.
•Time of day to sing is 6 pm to 9 pm.
•Autumn season Sarad mid September up to mid November.

21.Raag Maroo ~ Ang 989-1106. •Inspires rapture.
•Time of day is to sing 12 noon to 3 pm.
•Fall season Sisar mid November up to mid January.

22.Raag Tukharee ~ Ang 1107-1117. •A popular raag of old.
•Inspires gratitude.
•Time of day to sing is 3 pm to 6 pm.
•Autumn season Sarad mid September up to mid November.

23.Raag Kaedara ~ Ang 1118-1124. •An ancient healing raag.
•Inspires plaintive longing for the Divine.
•Time of day to sing is 6 pm to 9 pm.
•Summer season Garikhame mid May up to mid July.

24.Raag Bhairou ~ Ang 1125-1167. •A significant ancient raag.
•Inspires awe.
•Time of day to sing is sunrise 6 am to 9 am.
•Autumn season Sarad mid September up to mid November.

25.Raag Basant ~ Ang 1168-1196. •A very ancient raag.
•Inspires ecstatic serenity.
•Sing at any time of day or 6 pm to 9 pm.
•Warm spring season Basant mid March up to mid May.

26.Raag Sarang ~ Ang 1197-1253. •An old important raag.
•Inspires calming peace.
•Time of day to sing is 9 am to 12 noon.
•Rainy season Warkha mid July up to mid September.

27.Raag Malaar ~ Ang 1254-1293. •A favored raag of old.
•Inspires joyous thanks.
•Sing any time but particularly 9 pm to 12 midnight.
•Rainy season Warkha mid July up to mid September.

28.Raag Kaanrraa ~ Ang 1294-1318. •An olden day raag still popular.
•Inspires majestic serenity.
•Time of day to sing is 9 pm to 12 midnight.
•Summer season Garikhame mid May up to mid July.

29.Raag Kaliaan ~ Ang 1319-1326. •A complex raag.
•Inspires receptive reliance on Divine prosperity.
•Time of day to sing is 6 pm to 9 pm.
•Rainy season Warkha mid July up to mid September.

30.Raag Parbhatee ~ Ang 1327-1351. •A prevalent raag.
•Inspires dignity and calm.
•Time of day to sing is 6 am to 9 am.
•Warm spring season Basant mid March up to mid May.

31.Raag Jai Javantee ~ Ang 1352-1359. •A important raag of riveting magnificence.
•Inspires spiritual longing.
•Time of day to sing is 9 pm to 12 midnight.
•Summer season Garikhame mid May up to mid July


For some people.. raags can be a magnificent tool.. and can truly effect the mind..
I think that although raag isn't the best way to attract the masses into gursikhee

however.. it is definitely worth studying... it is profound..


MY POINT is : when we ignore things like raags... we are losing out on a severely important tool.. that can help us be more successful in our kanyo thiki valo niki path we have taken...

Our guru sahibs.. gave us this raag... to HELP US.. So if we have a bhandaar.. of.. sur....

I mean if we have prem for vaheguru then we will study raag.... and discover its beauty and its way entrancing the mind.. it has a way of mesmerizing the mind...

we cant just look at the meanings on google.com

we should find time to take classes or study books. .because as much as santhiyaa of gurbaani...
RAAG IS IMPORTANT.. I PROMISE..

And I am not saying that you don't have prem if you don't study raag... I am saying that we should just study raags... because there are so amazing.. and I have learned to love them soo much.. and they have helped me so much in my harsh times..

whenever I have been profoundly troubled.. and I needed to escape from the present reality... raag has always been best friend..

whenever in fear.. I turn on keertan in raag basant.. I am taken to a different world... emotionally..

and like we talk about guru granth sahib jee...
and say we complain about not having enough people tell us about guru sahib.. why not just read it

SUR ARE important.. and I am a firm believer in sur.. and raag and how helpful it is

Many times I have seen from my past experiences.. that people do not know how to integrate prem with raag.. when I go to people that just focus on raag without prem... it makes the kirtan terrible.

so with raag has to be a longing for finding vaheguru

A lot of times I find myself jumping from akj kirtan to raag kirtan

because there is too much movie interference in akj kirtan from SOME KIRTANIYAA.. .it just takes away from the gurbaani from me.. sometimes raag takes away from the gurbaani from

But there is no black or white answer

gurbaani has come from sachkhand.. so shouldn't we give as much satkar to gurbaani by using the raags assigned.. we put guru sahib on a pedestal.. and use beautiful ramalae to dress up our guru sahib.. so why cant we use beautiful raags proscribed by our gurus to dress up gurbaani when presenting it to the world......

a lot of the times... when you use raag you don't even have to understand the meaning of the shabad word for word to know what the shabad means..

music is a universal language.. because music is comprised of emotions.. it touches your heart. to use raag.. when I hear filmy tunes.. my mind cannot concentrate as much..

there is a lot of distraction from the filmy tunes... like my mind goes to lalala land.. but every time.. .there has been no acception.. that raags have truly given me an intuitive understanding of guru sahibs emotions that he is trying to convey at times of writing gurbaani..

It drives me insane.. that we are just concentrating on gurbaani and not on sur... because sur : is emotion.. and guru sahib is nothing but emotion..

AND PREM IS AN EMOTION.. and raags convey that emotions.. and

yes to a certain extent that prem is possible without raags.... but that same prem... that with guru sahib conveyed us the raags cannot be presented

and people will say.. that the aaaaaaahhhing of raags is beadbi.. it is not beadbi.. it is beautifying the raags.. it is not my fault that they cannot understand the beauty of the ahhhahhahha..... these aahahahah are not easy to do..so rather than being close minded and saying that this isn't gurbaani.. we should OPEN OUR MINDS. to the ahahhaaas

I have learned raag.. and I learned taanas.. and they take hours and hours of practice. to get them down..
they are so difficult to get down
and they attach your mind to the gurbaani.. to your origins.

Let us put gurbaani on pedestals and use raags within our kirtan.. let us study them.. like we study our history.. and our pasts..



Ahahhhaaas.. are I know they are enhancing the raags.. and decorating the raags.. it is like the icing we use on a cake.. .we decorate it. .and eadd extra squiglies to make the cake pretty..

Shouldn't gurbaani be made beautiful..


These are words coming from sachkhand.... .so the surs should be coming from sachkhand. too right? because the surs are from sachkhand.. because infront of every shabad there is a raag_____ assigned to it..
Raagtilang
tho darsan ki karo samayae

Yes there is so much emotion in that line.. so much depth of emotion. .nd poetry that went into that creation.. why why why degrade it by putting a movie song to it...

I NEED SUR TO LOVE GURBAANI....

Like I hate that at akj programs.. If I am ever asked to do kirtan.. I have to think of akj tunes.. and tht we are not open towards everything.. and that we don't really like look at other forms of communicating...

because they are beautiful as well...

but if we look at sur.. and raag.. and prem.. and taal. and combine them.. it can create something amazing..




im not saying that people don't use raags are terrible people. they are still awesome gursikhs..

but I think that we as a jatha.. need to make a more of a combined effort in to integrating more raags into a kirtan.. to make it more anandmayee..

I mean it is anandmayee without it .. but I feel like it would bring it up to a different level..

my opinion



SO what I am saying is open your eyes to different raags...

I mean like just listen to raags and see how much it effects you

with that I mean.. we need to bring back tanti saajaa.... including taus( my favorite) <3 , dilruba,

and add pyaar with them


I love akj programs. .and the akj tunes.. but I think we need to also open our minds to the ahhahahahahas of raags.. and kirtan

because raag is beauty initself..

Please please please please with folded hands.. I do benti to jatha sangat.. please hear the beauty in tanti sajaas.. lets bring rabab,dilrubas, taus to rainsabayeeas.. because guru sahibaan did kirtan with these sajaas... so if guru sahibaan did kirtan with these sajaan.. why why why don't we use this...

why not bring back the traditions.. I mean if we where cholaes.. and wear kamar kasae.. and kirpaanaa.. why cant we wear raagaas on our tounges.. why cant we wear the attire of raagas on our tongues.. if we practice gatka.. then why ignore raagaas. and not learn them...

MUSIC IS IMPORTANT TOO.... as important as anything else.. lets not put it down... even a little bit


Vaheguru ji ka Khalsa
Vaheguru ji ki Fateh

Keertan done in Bandish (Nirdarat Raags) does have long lasting effect if it is done by a tyar bar tyar Gursikh.
Bhai Sahib Randhir Singh Jee was very against Keertan done with filmy tunes. Whereas, Bhai Sahib was not as strict in using Nirdarat Raags during his keertan but at the same time he was not against it either. Bhai Sahib was of the opinon that if a tyar bar keertania does Keertan with utmost devotation then Raags comes to play automatically.

Again Bhai Sahib was strictly against using filmy tunes for keertan.. Please read following article, a must read for today's keertanias.

ਇਕਿ ਗਾਵਹਿ ਰਾਗ ਪਰੀਆ ਰਾਗਿ ਨ ਭੀਜਈ ॥

ਸਚਾ ਅਲਖ ਅਭੇਉ ਹਠਿ ਨ ਪਤੀਜਈ ॥
ਇਕਿ ਗਾਵਹਿ ਰਾਗ ਪਰੀਆ ਰਾਗਿ ਨ ਭੀਜਈ ॥
ਇਕਿ ਨਚਿ ਨਚਿ ਪੂਰਹਿ ਤਾਲ ਭਗਤਿ ਨ ਕੀਜਈ ॥… (ਪੰਨਾ ੧੨੮੫)

ਅਲੱਖ ਅਭੇਉ ਸੱਚਾ ਸਾਹਿਬ ਵਾਹਿਗੁਰੂ ਨਿਰੰਕਾਰ ਭਲਾ ਨਿਰੇ ਹਠ-ਕਰਮਾਂ ਨਾਲ ਕਿਵੇਂ ਪਤੀਜਦਾ, ਕਿਵੇ ਰਾਜ਼ੀ ਹੋ ਸਕਦਾ ਹੈ। ਪਤੀਜਦਾ ਹੈ ਤਾਂ ਪ੍ਰੇਮ ਨਾਲ ਕੀਤੇ ਸਿਫਤ ਸਾਲਾਹੀ ਸਚੇ ਕਰਮ ਨਾਮ ਅਭਿਆਸ ਕਮਾਈ ਦੁਆਰਾ ਹੀ ਪਤੀਜਦਾ ਹੈ। ਪ੍ਰੇਮ ਨਾਲ ਗਾਈ ਕੀਰਤਨਾਈ ਬਾਣੀ ਦੁਆਰਾ, ਜੋ ਗੁਰਮੁਖ ਗਾਂਵਦੇ ਹਨ, ਉਹ ਸੱਚਾ, ਸਭ ਤੋਂ ਵੱਧ ਅਤੇ ਛੇਤੀ ਤੋਂ ਛੇਤੀ ਪਤੀਜਦਾ ਰੀਝਦਾ ਹੈ। ਹੋਰ ਕੱਚੀ ਬਾਣੀ ਦੀਆਂ ਰਾਗਣੀਆਂ ਭਾਵੇਂ ਅਨਿਕ ਤਰੰਗੀ ਰਾਗਾਂ ਨਾਲ ਇੰਦਰ-ਅਖਾੜੇ ਦੀਆਂ ਪਰੀਆਂ ਭੀ ਜ਼ੋਰ ਲਾ ਲਾ ਕੇ ਗਾਵਣ, ਇਹਨਾਂ ਰਾਗਾਂ ਨਾਲ ਵਾਹਿਗੁਰੂ ਕਦੇ ਨਹੀਂ ਪਤੀਜਦਾ, ਕਿਉਂਕਿ ਇਹ ਰਾਗ ਮਨ-ਉਕਤ ਕਚ-ਮਿਲੇ ਗੀਤਾਂ ਵਾਲੇ ਹੁੰਦੇ ਹਨ। ਇਹਨਾਂ ਵਿਚ ਪ੍ਰੇਮ ਦੀ ਅੰਸ ਨਹੀਂ ਹੁੰਦੀ, ਨਾ ਹੀ ਰੱਬ ਨਾਲ ਜੋੜਨ ਵਾਲੀ ਰੱਬੀ ਖਿਚ ਮਨ-ਹਠੀ ਰਾਗਾਂ ਵਿਚ ਹੁੰਦੀ ਹੈ। ਇਹ ਰਾਗ ਤਾਂ ਮਨ ਦੀ ਚੰਚਲਤਾ ਨੂੰ ਹੀ ਵਧਾਉਂਦੇ ਹਨ। ਚੰਚਲਤਾ ਕਰਿ ਉਚਾਰੇ ਹੋਏ ਹੱਠ-ਗੀਤਾਰੇ ਰਾਗ ਹੀ ਹੁੰਦੇ ਹਨ। ਇਹਨਾਂ ਰਾਗਾਂ ਦੇ ਗਾਉਣ ਸੁਨਣ ਕਰਿ ਸਗੋਂ ਬਿਰਤੀਆਂ ਗਾਉਣ ਸੁਨਣ-ਹਾਰਿਆਂ ਦੀਆਂ ਹੋਰ ਉਚਾਟ ਅਤੇ ਚੰਚਲ ਹੁੰਦੀਆਂ ਹਨ। ਵਾਹਿਗੁਰੂ ਅਤੇ ਵਾਹਿਗੁਰੂ ਦੇ ਪ੍ਰੇਮ ਤੋਂ ਬੇਮੁਖ ਕਰਾਉਂਦੀਆਂ ਹਨ।

ਅੱਜ ਕਲ੍ਹ ਦੇ ਰਾਗ-ਰੀਤੀ ਅਖਾੜਿਆਂ ਵਿਚ ਇਹੀ ਕਚ-ਰਾਗ ਦਾ ਧੰਦਾ ਪਿਟਿਆ ਜਾਂਦਾ ਹੈ। ਸਾਰੀ ਦੁਨੀਆ ਏਹਨਾਂ ਰਾਗਾਂ ਨੇ ਪਟ ਕੇ ਵਗਾਹ ਦਿਤੀ ਹੈ, ਕੁਸੰਗ ਦੇ ਨਰਕ ਘੋਰ ਵਿਚ ਪਾ ਛੱਡੀ ਹੈ। ਪਰਵਾਰਾਂ ਦੇ ਪਰਵਾਰ ਇਸ ਰਾਗ ਦੇ ਚਸਕੇ ਵਿਚ ਰੁੜ੍ਹੇ ਹੋਏ ਰਸਾਤਲ ਨੂੰ ਚਲੇ ਜਾ ਰਹੇ ਹਨ। ਪਰ ਨਹੀਂ ਬਾਜ਼ ਆਉਂਦੇ। ਏਨ੍ਹਾਂ ਨੂੰ ਦੇਖਿ ਦੇਖਿ ਬੀਮਾਰੀ ਹੋਰ ਭੀ ਦਿਨੋ ਦਿਨ ਵਧਦੀ ਤੁਰੀ ਜਾ ਰਹੀ ਹੈ। ਕੋਈ ਠੱਲ੍ਹ ਨਹੀਂ, ਕੋਈ ਬਚਾਉ ਨਹੀਂ। ਰੁੜ੍ਹਾਉ ਹੀ ਰੁੜ੍ਹਾਉ ਹੈ। ਚਟਪਟੇ ਰਾਗਾਂ ਦੇ ਕੁਚਸਕੇ ਨੇ, ਜੋ ਅੱਜ ਕਲ੍ਹ ਦੇ ਸਿਨਮਿਆਂ ਅਤੇ ਥੀਏਟਰਾਂ ਵਿਚ ਗਾਏ ਸੁਣੇ ਜਾਂਦੇ ਹਨ, ਦੁਨੀਆ ਦੀ ਹਰ ਇਕ ਕੌਮ ਦੀ ਯੁਵਕ ਪਨੀਰੀ ਨੂੰ ਖੁਆਰ ਅਤੇ ਪਾਗਲ ਕਰ ਛਡਿਆ ਹੈ। ਨੌਜਵਾਨਾਂ ਦੇ ਆਚਾਰ ਗੰਦੇ ਕੀਤੇ ਹਨ। ਇਹਨਾਂ ਸਿਨਮਿਆਂ ਥੀਏਟਰੀਕਲ ਰਾਗਾਂ ਨੇ ਗਰੀਬ ਤੋਂ ਗਰੀਬ, ਮਾਇਆ ਕਰਕੇ ਕੰਗਾਲ ਤਬਕੇ ਦੇ ਬੁੱਢੇ ਬਾਲ ਅਤੇ ਜਵਾਨ ਇਸਤ੍ਰੀ ਮਰਦ ਪਰਵਾਰ ਉਜਾੜ ਕੇ ਫ਼ਨਾਹ ਕਰ ਦਿੱਤੇ ਹਨ।

ਫ਼ੀ-ਜ਼ਮਾਨੇ ਵਿਚ ਜੋ ਆਚਾਰ-ਹੀਨਤਾ ਤੇ ਨਿਰਧਨਤਾ ਅਤੇ ਹੋਰ ਪ੍ਰਕਾਰ ਦੀ ਕੁਚਿਲ ਕੁਚੀਲਤਾ ਸਾਰੀ ਦੁਨੀਆ ਵਿਚ ਵਰਤ ਰਹੀ ਹੈ, ਸੋ ਇਸ ਨਵ-ਫ਼ੈਸ਼ਨੀ ਰਾਗ ਦੀ ਪਟਮੇਲੀ ਕਰਕੇ ਹੀ ਵਰਤ ਰਹੀ ਹੈ, ਜਿਥੋਂ ਉਭਰਨਾ ਰੁੜ੍ਹੀ ਜਾਂਦੀ ਜਨਤਾ ਲਈ ਅਤੀਅੰਤ ਕਠਨ ਹੋ ਗਿਆ ਹੈ। ਇਸ ਰਾਗ ਦੀ ਪਟਮੇਲੀ ਨੇ ਇਨਸਾਨ ਮਾਤਰ ਨੂੰ ਹੈਵਾਨ ਬਣਾ ਛਡਿਆ ਹੈ ਅਤੇ ਸਦ-ਸਦੀਵੀ ਪਸ਼ੇਮਾਨਤਾ ਦੀ ਗਹਿਰ ਵਿਚ ਪਾ ਛਡਿਆ ਹੈ। ਸਭਸ ਦਾ, ਬੰਦੇ ਬਸ਼ਰ ਮਾਤਰ ਦਾ ਸੁਆਰਥ-ਪ੍ਰਮਾਰਥ ਖਾਨ-ਪਾਨ ਧਨ-ਧਾਮ ਸਭ ਕੁਛ ਵਿਗਾੜ ਛਡਿਆ ਹੈ। ਗੰਦੇ ਮੰਦੇ ਇਸ਼ਕੀਆ ਰਾਗਾਂ ਦੀਆਂ ਟੇਡੀਆਂ ਰੀਤਾਂ ਨੇ ਇਨਸਾਨੀ ਦਿਲੋ-ਦਿਮਾਗ ਨੂੰ ਗੰਦਾ ਪਰਾਗੰਦਾ ਕਰ ਦਿੱਤਾ ਹੋਇਆ ਹੈ। ਇਹਨਾਂ ਰਾਗਾਂ ਨਾਲ ਛਿਨ-ਭੰਗਰੀ ਕੁਚਸਕਤਾ ਭਰੀ ਖੀਨ-ਖਰਾਬੜੀ ਖੁਮਾਰੀ ਕੁਪੁਠੜੇ ਦਿਮਾਗਾਂ ਤੇ ਦਿਲਾਂ ਨੂੰ ਚੜ੍ਹ ਜਾਂਦੀ ਹੈ, ਪਰ ਛਿਨ ਮਾਤਰ ਵਿਚ ਉਤਰ ਜਾਂਦੀ ਹੈ। ਅਸਲ ਅਹਿਲਾਦ, ਸਦੀਵੀ ਖ਼ੁਸ਼ੀ ਵਾਲਾ ਅਹਿਲਾਦ ਇਹਨਾਂ ਕਚ-ਪਿਚੇ ਰਾਗਾਂ ਦੁਆਰਾ ਕਦਾਚਿਤ ਹਾਸਿਲ ਨਹੀਂ ਹੋ ਸਕਦਾ। ਪ੍ਰਮਾਰਥ ਵਲ ਰੁਚੀ ਹੀ ਨਹੀਂ ਦਉੜ ਸਕਦੀ। ਇਹ ਰਾਗ ਪਰਮਾਤਮ-ਪ੍ਰਾਪਤੀ ਦੇ ਪ੍ਰਮਾਰਥੀ ਪਾਸੇ ਵਲੋਂ ਸਗੋਂ ਬੇਮੁਖਤਾਈ ਕਰਾਉਣ ਦਾ ਕਾਰਨ ਬਣਦੇ ਹਨ। ਪਰਮਾਤਮਾ ਕਦੇ ਭਿਜਦਾ-ਪਸੀਜਦਾ ਹੈ ਇਹਨਾਂ ਰਾਗਾਂ ਰਾਗਣੀਆਂ ਦੁਆਰਾ? ਕਦੇ ਨਹੀਂ ਪਤੀਜਦਾ।

ਗੁਰਬਾਣੀ ਗਾਉਣ ਦੇ ਪ੍ਰਮਾਰਥੀ ਵੇਗ ਵਿਚ ਹੀ ਅਸਾਡੇ ਚੁਟਕੀਲੇ ਫੁਟਕੀਲੇ ਰਾਗੀਆਂ ਨੇ ਸਿਨਮਿਆਂ ਥੀਏਟਰਾਂ ਦੀਆਂ ਤਰਜ਼ਾਂ ਲਿਆਇ ਘਸੋੜੀਆਂ ਹਨ, ਜੋ ਗਾਵਨ ਸੁਨਣਹਾਰਿਆਂ ਦੀਆਂ ਮਾਨਸਕ ਤ੍ਰਿਸ਼ਨਾਵਾਂ ਹੀ ਵਧਾਉਂਦੀਆਂ ਹਨ। ਸਾਰੇ ਚਟਪਟੀਲੇ ਰਾਗੀ, ਚਟਪਟੀਲੇ ਰਾਗਾਂ ਦੀਆਂ ਤਰਜ਼ਾਂ ਦੇ ਕੁੱਠੇ ਹੋਏ ਤੇ ਉਨ੍ਹਾਂ ਦੇ ਸਰੋਤੇ ਨਿਰੀਆਂ ਰਾਗਾਂ ਦੀਆਂ ਚਟਪਟੀਲੀਆਂ ਦੇ ਹੀ ਮੁੱਠੇ ਹੋਏ ਹਨ। ਗੁਰਸ਼ਬਦ ਦੇ ਭਾਵ ਵਲ ਕਿਸੇ ਦਾ ਧਿਆਨ ਹੀ ਨਹੀਂ ਜਾਂਦਾ; ਕਿਸੇ ਦੀ ਸੁਰਤੀ ਹੀ ਨਹੀਂ ਜੁੜਦੀ। ਪਰਮਾਤਮਾ ਨਾਲ ਲਿਵ ਜੁੜਨ ਜੋੜਨ ਦਾ ਸਭ ਤੋਂ ਵਧੀਕ ਵਸੀਲਾ ਗੁਰਮਤਿ ਅਨੁਸਾਰ ਗੁਰੂ ਘਰ ਅੰਦਰ ਕੀਰਤਨ-ਰਸ-ਤਰੰਗ ਹੀ ਸੀ, ਸੋ ਉਸ ਦਾ ਅਭਾਵ ਹੋ ਰਿਹਾ ਹੈ। ਸੋ ਇਹਨਾਂ ਕੁਰਾਗਾਂ ਕੁਰੰਗਾਂ ਦੇ ਕੁਚਸਕੇ ਦੂਆਰਾ ਹੋ ਰਿਹਾ ਹੈ।

ਨਾਨਾ ਪ੍ਰਕਾਰ ਦੇ ਸੁਆਂਗ ਬਣਾ ਕੇ ਜੋ ਅਜ ਕਲ੍ਹ ਦੇ ਸਿਨਮਿਆਂ ਥੀਏਟਰਾਂ ਵਿਚ ਨਾਚ ਰੰਗ ਹੁੰਦੇ ਹਨ ਅਤੇ ਤਾਲ ਪੂਰੇ ਜਾਂਦੇ ਹਨ, ਇਹ ਸਭ ਨੌਜਵਾਨਾਂ ਨੂੰ ਕੀ, ਹਰ ਪ੍ਰਾਣੀ ਮਾਤਰ ਨੂੰ ਰਸਾਤਲ ਵਿਚ ਡੁਬੋਣ ਦਾ ਸਉਦਾ ਹੈ। ਪ੍ਰਮਾਰਥ ਵਲ ਤਾਂ ਕਿਸੇ ਨੇ ਕੀ ਮੁੜਨਾ ਸੀ, ਬਸ ਰੁੜ੍ਹਨ ਹੀ ਰੁੜ੍ਹਨ ਹੈ।

ਗੁਰਮਤਿ ਇਸ਼ਕ ਹਕੀਕੜੇ ਉਚ ਪ੍ਰਮਾਰਥੀ ਗੁਰਬਾਣੀ-ਕੀਰਤਨ ਦੇ ਰਸੀਅੜੇ ਗੁਰਮੁਖ ਜਨਾਂ ਨੂੰ ਇਹ ਕਚ-ਪਿਚੇ ਰਾਗ ਹਰਗਿਜ਼ ਨਹੀਂ ਭਾਉਦੇਂ। ਤਾਂ ਗੁਰੂ ਕਰਤਾਰ ਨੂੰ ਕਦੋਂ ਭਾ ਸਕਦੇ ਹਨ। ਉਹ ਪੁਰਖ ਅਗੰਮੜਾ ਕਦੋਂ ਪਤੀਜ ਸਕਦਾ ਹੈ ਇਹਨਾਂ ਰਾਗ ਰੰਗ ਅਖਾੜੇ ਵਾਲੀਆਂ ਰੀਝਾਂ ਤੇ।

ਬੜੇ ਹਨੇਰ ਦੀ ਗੱਲ ਤਾਂ ਇਹ ਹੈ ਕਿ ਇਹਨਾਂ ਕਚ-ਪਿਚੇ ਰਾਗਾਂ ਦੇ ਕਚ ਦੇ ਢੇਰ ਵਿਚ ਕੰਚਨ ਨੂੰ ਰੁਲਾਇਆ ਜਾ ਰਿਹਾ ਹੈ। ਕੱਚੋਂ ਕੰਚਨ ਕਰਨਹਾਰੀ ਪਾਰਸ ਰੂਪੀ ਗੁਰਬਾਣੀ ਦੇ ਕੀਰਤਨ ਨੂੰ ਆਨਮਤੀਆਂ ਦੀ ਰੀਸੇ ਕੁਰੀਸੇ ਗੰਦੇ ਰਾਗਾਂ ਦੇ ਨਾਲ ਹੀ ਰੇਡਿਉ ਉਤੇ ਬ੍ਰਾਡਕਾਸਟ ਕਰ ਕੇ ਗਾਇਆ ਜਾ ਰਿਹਾ ਹੈ। ਜਿਸ ਰੇਡਿਉ ਉਤੇ ਗੰਦੇ ਰਾਗ ਬ੍ਰਾਡਕਾਸਟ ਕੀਤੇ ਜਾਂਦੇ ਹਨ ਉਸੇ ਰੇਡਿਉ-ਸੈਟ ਉਤੇ ਲੋਭ-ਲਾਲਚੀ ਸਿਖ ਰਾਗੀ ਗੁਰ-ਸ਼ਬਦ ਦੇ ਕੀਰਤਨ ਨੂੰ ਬ੍ਰਾਡਕਾਸਟ ਕਰ ਕੇ ਵੇਚ ਰਹੇ ਹਨ। ਬੜੀ ਹੀ ਸ਼ਰਮ ਵਾਲੀ ਗੱਲ ਹੈ। ਕੀ ਇਹ ਗੁਰਬਾਣੀ ਦਾ ਪਰਚਾਰ ਹੈ ਕਿ ਪਰਹਾਰ? ਏਸ ਨੂੰ ਇਕ-ਦਮ ਰੋਕਿਆ ਜਾਣਾ ਚਾਹੀਦਾ ਹੈ।

ਗੁਰੂ ਨਾਨਕ ਸਾਹਿਬ ਜੀ ਦੇ ਜੋਤਿ-ਅਵਤਾਰਾਂ ਸਮੇਂ ਕੇਵਲ ਆਨਮਤੀਆਂ ਅੰਦਰ ਹੀ ਇਹ ਕੁਚਸਕੇ ਭਰੀ ਰੀਤੀ ਸੀ। ਗੁਰਸਿਖਾਂ ਨੂੰ ਏਸ ਕੁਚਸਕੇ ਤੋਂ ਬਿਵਰਜਤ ਕਰਨ ਲਈ ਹੀ ਸੱਚੇ ਪਾਤਸ਼ਾਹ ਨੇ ਪਾਖੰਡ ਰਾਗ ਦੇ ਗਾਵਣ ਦੀ ਨਿਖੇਧੀ ਕੀਤੀ ਹੈ ਅਤੇ ਦੱਸਿਆ ਹੈ, “ ਇਕਿ ਗਾਵਹਿ ਰਾਗ ਪਰੀਆ ਰਾਗਿ ਨ ਭੀਜਈ ॥ ਇਕਿ ਨਚਿ ਨਚਿ ਪੂਰਹਿ ਤਾਲ ਭਗਤਿ ਨ ਕੀਜਈ॥” ਇਸ ਗੁਰ-ਵਾਕ ਦੁਪੰਗਤੀ ਦੁਆਰਾ ਨਾ ਸਿਰਫ਼ ਕਚ-ਪਿਚੇ ਰਾਗਾਂ ਦੀ ਹੀ ਨਿਖੇਧੀ ਕੀਤੀ ਗਈ ਹੈ, ਬਲਕਿ ਤਾਲ-ਪੂਰਨੇ ਨਾਦਾਂ ਨੂੰ ਭੀ ਨਿਖੇਧਿਆ ਗਿਆ ਹੈ। ਗੁਰੂ ਸਾਹਿਬ ਫੁਰਮਾਉਂਦੇ ਹਨ, ਇਸ ਤਰ੍ਹਾਂ ਨਚਣ ਟਪਣ ਨਾਲ ਭਗਤੀ ਨਹੀਂ ਹੁੰਦੀ, ਜੈਸਾ ਕਿ ਭਗਤੀਏ ਫ਼ਿਰਕੇ ਭਗਤੀਆਂ ਨੂੰ ਭਗਤਿ ਪਾਉਣ (ਰਾਸ ਪਾਉਣ) ਦਾ ਮਾਣ ਸੀ।

(ਪੁਸਤਕ “ਗੁਰਮਤਿ ਅਧਿਆਤਮ ਕਰਮ ਫ਼ਿਲਾਸਫ਼ੀ” ‘ਚੋਂ)

Beautiful write up by Bhai Sahib Randhir Singh jee. Indeed when music takes lead over Gur-Shabad, such Kirtan does not cast the required effect on the Sangat.

Another very important point that Bhai Sahib jee has made in this writeup is that the easiest and fastest way to please Vaheguru is through Kirtan:

ਅਲੱਖ ਅਭੇਉ ਸੱਚਾ ਸਾਹਿਬ ਵਾਹਿਗੁਰੂ ਨਿਰੰਕਾਰ ਭਲਾ ਨਿਰੇ ਹਠ-ਕਰਮਾਂ ਨਾਲ ਕਿਵੇਂ ਪਤੀਜਦਾ, ਕਿਵੇ ਰਾਜ਼ੀ ਹੋ ਸਕਦਾ ਹੈ। ਪਤੀਜਦਾ ਹੈ ਤਾਂ ਪ੍ਰੇਮ ਨਾਲ ਕੀਤੇ ਸਿਫਤ ਸਾਲਾਹੀ ਸਚੇ ਕਰਮ ਨਾਮ ਅਭਿਆਸ ਕਮਾਈ ਦੁਆਰਾ ਹੀ ਪਤੀਜਦਾ ਹੈ। ਪ੍ਰੇਮ ਨਾਲ ਗਾਈ ਕੀਰਤਨਾਈ ਬਾਣੀ ਦੁਆਰਾ, ਜੋ ਗੁਰਮੁਖ ਗਾਂਵਦੇ ਹਨ, ਉਹ ਸੱਚਾ, ਸਭ ਤੋਂ ਵੱਧ ਅਤੇ ਛੇਤੀ ਤੋਂ ਛੇਤੀ ਪਤੀਜਦਾ ਰੀਝਦਾ ਹੈ।

Kulbir Singh

Satguroo Jee has written Gurbani is Raags, there must of been a reason for this? Sri Guroo Jee also adds which Taal, Ghar or Dhuni to sing the Shabad in. Im sure Sri Guroo Jee has done this for a reason.

Daas believes, when it comes to singing Gurbani our ਮਨ (mind/soul) has to join with the Shabad so we can get Naam da Raas. If we listen to kirtan and we are more focused to the Music then this is giving Raas to our ears and our ਮਨ (mind/soul) is not getting satisfied. Hence, one can do kirtan in Nirdharat Raags or with simple Reets but the main focus is the shabad!

One thing I have learnt through sangat is that their should be more focus of the Rehit Rehni/Jeevan of the keertani jan, other than looking forward to what tune they sing next' as then there will be a much higher effect on the sangat!

As Vadeh Bhai Sahib Jee has said :- ਹੋਰ ਕੱਚੀ ਬਾਣੀ ਦੀਆਂ ਰਾਗਣੀਆਂ ਭਾਵੇਂ ਅਨਿਕ ਤਰੰਗੀ ਰਾਗਾਂ ਨਾਲ ਇੰਦਰ-ਅਖਾੜੇ ਦੀਆਂ ਪਰੀਆਂ ਭੀ ਜ਼ੋਰ ਲਾ ਲਾ ਕੇ ਗਾਵਣ, ਇਹਨਾਂ ਰਾਗਾਂ ਨਾਲ ਵਾਹਿਗੁਰੂ ਕਦੇ ਨਹੀਂ ਪਤੀਜਦਾ, ਕਿਉਂਕਿ ਇਹ ਰਾਗ ਮਨ-ਉਕਤ ਕਚ-ਮਿਲੇ ਗੀਤਾਂ ਵਾਲੇ ਹੁੰਦੇ ਹਨ।

I remember Bhai Surjit Singh Jee saying that their is no point going into sangat to do kirtan seva, making sangat jap naam (Dhuni) when the Kirtanee Singh/Singni does not wake up amrit vela and engage in 1-2 hours Naam abiyaas themselves? Doesn't make sense. So more focus should be done on the jeevan of the Keertanee then the actual Music as this is a small thing.

But, I personally say that we should not loose our Tradition in singing in Nirdharat Raags also. It might not be essential, but if sang in the correct Mood, Season etcc they do have a Long lasting and big effect on your mind. In the season of Spring, when the flowers are sprouting etcc, singing Gurbani in Raag Basant increases your love for ਵਾਹਿਗੁਰੂ !

ਐਸਾਕੀਰਤਨੁਕਰਿਮਨਮੇਰੇ ॥ ਈਹਾਊਹਾਜੋਕਾਮਿਤੇਰੈ ॥

Bull Chuk Muaf Karni


Amanjot Singh

I agree with what Amanjot Singh Jee has said. Guru Sahib has prescribed Shabads with Raags, as such we should make some effort to do Keertan in raag.
However sometimes we see keertanis get too caught up and focus more on the raag than the Shabad. They start singing the sa re ga ma... Instead of focussing on the Shabad.
There has to be a balance some place in between...
Doing Keertan out of raag definitely isn't the end of the world. But doing it in Bhangra or song tunes should be avoided.
However as mentioned by several Gursikhs, if the Shabad is sung out of pyaar, then that is most important thing.

There also seems to be a trend these days of loud and fast Simran dominating long periods of the Keertan. I don't know, this has been discussed before but maybe keertanis should think about whether they are singing Vaheguroo out of pure pyaar, or just to pump the Sangat up..???

And again Bhai Amanjot Singh has mentioned another important issue, who should be allowed to do Keertan?
Those Singh's and Singhnia who do Keertan should have a strict rehit and a reasonable jeevan- I.e. definitely have abstained from the Bujjar kurehits, make a basic effort of Amrit vela etc.

These are just my thoughts. Apologies if I may have offended anybody.

No one is saying that Raags has no importance, I think we all can agree that Jeevan of Kirtaniyaa, pyaar and bairaag is more important. The problem is that there is more importance/stress given to various tunes (kan ras) then gurbani.

I remember when a singh I know first started learning keertan in raags, his keertan teacher (gurdwara granthi) told him that he should listen to old mohd rafi songs and also nusrat fateh ali khan songs so that he can understand sur taal better. It will make him expert in raag. Clearly we can see that stress was given more to music and raags then to gurbani itself.

Bhul chuk dhi khimaa!!

Vaheguroo jee kaa khalsaa
Vaheguroo jee Kee fateh!