UNDERSTANDING THE MUSICAL FRAMEWORK OF

GURU GRANTH SAHIB Amardeep Singh, #01-04 Kentish Green, 20 Oxford Road, Singapore 218815 Phone : 63964710 (Res), 98326508 (Mobile)

Since the time the article “Give The Man A Break” by U) Singh appeared in the Corner Room of Sikhe.com, my mind has been posing some questions like

“What does Guru Granth Sahib, our eternal Guru command us on the subject of Keertan?”

“Why is that the Gurus chose Raags to classify Gurbani?”

“What is the relation between Shabad and Raag?”

“Do we need the aid of experimental music to propagate the message of Guru Granth Sahib?”

“Have our Keertanias experimented with the vastness of Raags and Taals as prescribed by Gurus?”

“What impact will experimentation have on our future generations?”

Keertan today has been commercialized to such an extent that barring a few, most Keertanias are only concerned about making a quick money. Their limitations to experiment with the prescribed vastness of Guru Granth Sahib always gets camouflaged in the excuse that Sangat does not prefer to listen to Keertan as prescribed by the Gurus.

Gurus wrote Shabads in poetical-metric forms and then associate them with Raags and Ghars (Beats/Taals). Does this mean that Gurus have left no scope for experimentation with music? The indication of Raag and Ghar (Beat) with every Shabad implies that Gurus had a definite motive behind fixing a framework. This framework was not set to limit the ability of human mind to experiment with music but to act as an aid in spiritual development. A simple mathematical permutation and combination on notes of any Raag

would indicate that each Raag offers thousands of tunes to experiment with.

Poetry (the form in which Gurbani is written) and Music (Raags) are two sides of the same coin. They are independent but yet complement each other. Music versifies and provides melody, uniformity and cadence to Poetry. The factor that binds music and poetry is their Metrical-form (Ghar or Beat). Music (Raag) is based on Sound (Swar - Notes) and a combination of Notes produce distinct musical effects. Poetry is determined by Word (Shabad), which communicates a message. Music (Raag) on the other hand conveys a feeling to the heart and is therefore universal. Spirituality after all is striking the right balance between mind and heart. Therefore when Gurbani (Poetry) is complemented with Raag (Music) and bound by Ghar (Beat), the resulting effect on mind and body can become the catalyst to change.

As explained earlier that Raag conveys a feeling and Shabad a message. A Raag is capable of touching the hearts with the feeling like Joy, Sorrow, Detachment, etc. Upon studying the structure of Guru Granth Sahib it can be seen that shabads relating to common THEMES are generally placed under each Raag. When the broad THEMES of Shabads are overlayed with feelings conveyed by Raags, there emerges a reason behind classification of Shabads under a broad classification of 31 Raags.

Common Theme of Shabads placed under Raags of Guru Granth Sahib 1. Soohi - Being away from Home. The soul being away from the House of

Lord & 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

WO CON DUN KRWN

10. Bihaagra - Yearning due to separation of Soul and happiness due to meeting the Lord.

11. Sorath - Merits of God

12. Dhanasari - Mixed Theme

13. Jaitsree - Stability

14. Todi - Maya, Separation

15. Bairagi - motivation to sing praises of Lord

16. Tilang - many words from the vocabulary of Islamic origins are used, sadness, beautification.

17. Raamkali - to give up the life of a wandering Jogi. 18. Nat Narayan - Joy of meeting the Lord

19. Maali Gaura - Happiness

20. Maaru - Bravery

21. Tukhari - Separation and union with Lord

22. Kedara - Love

23. Bhairav - Mans' state of Hell

24. Basant - Happiness

25. Sarang - Thirst to meet God

26. Malar - State of separated and united Soul

27. Jaijawanti — Vairag (Detachment)

28. Kalyan - Bhakti (Prayer) Ras

29. Vadhans — Vairag (Detachment)

30. Parbhati — Bhakti (Prayer)

31. Kanra — Bhakti (Prayer)

Feeling communicated by the music of Raag

. Soohi — Joy & Separation

. Bilaaval - happiness

. Gaund - strangeness, surprise, beauty

. Sri - satisfaction and balance

Maaijh - loss, beautification

. Gauri - Seriousness

. Aasa - making effort

. Gujri - satisfaction, softness of heart, sadness . Devgandhari - No specific feeling but the Raag has a softness 10. Bihaagra - beautification

WMONDUARWNPE

11. Sorarth - 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. Bhairagi - sadness, (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. Malar - seperation

27. Jaijawanti - Virag

28. Kalyan - Bhakti Ras

29. Vadhans - Vairag, Loss (that is why Alahniya is sung in this Raag when someone passes away)

30. Parbhati - Bhakti and seriousness

31. Kanra - Bhakti and seriousness

Its clear that the Gurus used Raags to increase delivery power of shabad to our mind by invoking complementary feelings in our hearts through the usage of prescribed Raags.

Another interesting aspect of Raag and Gurbani classification is understood by studying daily time-cycles. A Raag has a preferred timing associated with it. There are some morning Raags, evening Raags, afternoon Raags, etc. Human mind and heart also undergo varying degrees of mood change during a 24 hours time cycle.

Upon classification of 31 Main Raags used in Guru Granth Sahib based on the prescribed Raag timins, we find that no Raags fall under the time zone 12 AM-—3 AM. Normally one would sleep between 10PM — 4AM.

Timings of Raags 6 AM - 9AM : Bhairagi, Devgandhari

9 PM - 12 PM: Saarang, Suhi, Bilaaval, Gujri, Gond, Todi

12 PM - 3 PM: Vadhans, Maru, Dhanasari

3 PM -6 PM: Maanjh, Gauri, Tilang, Tukhari

6 PM -9 PM: Sri, Basant, Maali Gaura, Jaitsari, Kedara, Kalyan

9 PM - 12 AM: Bihaagra, Nat Narayan, Sorath, Malar, Kanra, Jaijawanti 12 AM - 3 AM: -------- No Raags from Guru Granth Sahib---------

3AM - 6AM: Aasa, Raamkali, Bhairav, Parbhati

Some Raags also have seasons associated with them as seasons also denote feelings.

Seasonality of Raags 1. Basant Raag can be sung at any time in Basant Season. Shabads with the

theme of happiness are clustered under this Raag in Guru Granth Sahib.

2. Malar Raag can be sung at any time in Rainy Season. Shabads with the theme of separation are clustered under this Raag in Guru Granth Sahib.

The Gurus have also indicated the beats associated with the Poetry of every Shabad. In Guru Granth Sahib 17 Ghars (Taal — Beat) are mentioned. These 17 Ghars denote following beats :

GHAR 1 - DADRA TAAL (There are 1Taalis and the Beat as 6 Matras) GHAR 2 - RUPAK TAAL (There are 2 Taalis and the Beat has 7 Matras) GHAR 3 - TEEN TAAL (There 3 Taalis and the Beat has 16 Matras) GHAR 4 - CHAAR TAAL (There are 4 Taalis and the Beat has 12 Matras) GHAR 5 - PUNJ TAAL (There are 5 Taalis and the Beat has 15 Matras) GHAR 6 - KHUT TAAL (There are 6 Taalis and the Beat has 18 Matras)

GHAR 7 - MUT TAAL (There are 7 Taalis and the Beat has 21 Matras)

GHAR 8 - ASHT MANGAL TAAL (There are 8 Taalis and the Beat has 22 Matras)

GHAR 9 - MOHINI TAAL (There are 9 Taalis and the Beat has 23 Matras) GHAR 10 - BRAHAM TAAL (There are 10 Taalis and the Beat has 28 Matras) GHAR 11 - RUDRA TAAL (There are 11 Taalis and the Beat has 32 Matras) GHAR 12 - VISHNU TAAL (There are 12 Taalis and the Beat has 36 Matras) GHAR 13 - MUCHKUND TAAL (There are 13 Taalis and the Beat hs 34 Matras)

GHAR 14 - MAHASHANI TAAL (There are 14 Taalis and the Beat has 42 Matras)

GHAR 15 - MISHR BARAN TAAL (There are 15 Taalis and the Beat has 47 Matras)

GHAR 16 - KUL TAAL (There are 16 Taalis and the Beat has 42 Matras) GHAR 17 - CHRCHARI TAAL (There are 17 Taalis and the Beat has 40 Matras)

Within the rules of Hindustani Classical Music, uncountable Raags can be created. In fact any form of music (non-Indian and non-classical) can be classified under some form of Raag. Hence it is a misconception that Raags are something highly classical and beyond the realms of common mans understanding. In-fact any form of music is Raag. But in Guru Granth Sahib, the Gurus have gone into depths of Poetry, Music and Metrical forms to lay the framework that is best suited to convey the feeling and message of the Shabad simultaneously to the human mind and heart.

When each of the prescribed Raag offers uncountable permutation and combination of musical compositions, then why is it that the modern Keertanias are not experimenting within the prescribed framework of the Gurus?

Gurbani says

Among all Ragas, that one is sublime, O Siblings of Destiny, by which the Lord comes to abide in the mind. (Page 1423)

Clearly, only that Raag is prescribed by which feeling of spirituality is aroused. Gurus have not prescribed catchy musical tunes that dominate the Shabad. The essence of Keertan lies in effective delivery of the message of Shabad, using Raag and Taal as a medium. The medium cannot dominate the essence. This is where our modern day keertanias are making the mistake of experimenting beyond the prescribed framework of Guru Granth Sahib and singing shabads in catchy tunes. At the end it’s the tune that remains in the mind and not the message.

Music is a double edged sword. While it can be effectively used for constructive Keertan by operating within prescribed frameworks Guru Granth Sahib, on the other hand it can also be used for arousing destructive feelings by use of catchy tunes (as explained earlier, any form of music can be classified into a Raag).

It would be interesting to note that the main object for having caused the current day deterioration in quality of Keertan is the most widely used musical instrument called Harmonium.

Harmonium is not an Indian instrument. Over 100 year back, the Europeans bought the Harmonica to India. The air box of this European instrument was experimented by Indian musicians to develop a new instrument called Harmonium. This instrument is not best suited for Indian Classical music.

According to Indian Classical Music, the human ear can recognize 22 musical notes in an Octave. The Harmonium only offers 12 discreet keys in an Octave. Only string instruments offer the ability to play 22 notes in an Octave by pressing the string at mid-points. It is for this reason that Indian Music was always played with accompaniment of only string instruments. In fact if one sees the old pictures of Harmandir Sahib, one would only find string instruments being used by the Keertanias.

Although Harmonium offered a compromise to Indian Classical music and should have never been used in the Indian system but it gained rapid acceptance because it was very easy to learn and use. Learning a string instrument required close to 4 — 5 years professional training but

Harmonium could be learnt in less than 2 months. This was a great blessing to aspiring Sikhs who also wanted be able to do Keertan. While there is no harm in using Harmonium and we must also accept its contribution in making it easier for the masses to learn Keertan and help them start their spiritual journey. But it also caused the biggest deterioration to Keertan singing. The professional Keertanias, were now finding it hard to keep pace with rapid generation of new breed of Amateur Keertanias. Materialistic desires lead them to shorten their classical training period by moving to Harmonium. Over generations, this trend lead to complete elimination of string instruments from the Gurudwaras. Lack of dedication that crept in because of the ability to learn Keertan in just 2 months also lead to Keertanias start doing Keertan in catchy filmi tunes.

Yes our modern day Keertanias should be given 100% score for having the ability to experiment with music. But unfortunately, this experimentation with catchy tunes is causing more harm than good to the Keertan, as they have stopped experimenting within the prescribed framework of Guru Granth Sahib.

An instrument that was supposed to attract the Sikhs to Gurbani has become the very reason for the downfall in present day standards of Keertan. It would have been fine if Harmonium would have been adapted but not at the expense of compromise on string instruments. It should have acted as a stepping stone for the budding Sikh Keertanias to quickly acquire musical sense and move forward to experimenting within the prescribed framework of Guru Granth Sahib. Instead they have chosen the short cut.

The reason for citing above example is to show the long term pitfalls associated with un-checked experimentation. Modern day experimentalists like Dya Singh need to be cautious and introspect. The first question that needs to be answered is that what is attracting the youth to this new style of Keertan? For all probability it is the music that is attracting them because Keertan is being done in modern day, highly dramatized form. | have heard a shabad “Mitar Pyarae Noon.....” in which Thunder, Lightning and sounds of wild animals complement the shabad to project the scene of Machiwara jungle. The only reason one would get attracted to such style of Keertan is

because of music. Like any MTV Top of the Charts, such music can’t last long in the minds of the youth.

On the other hand maybe the youth is getting attracted to this style of Keertan because effective English Translations are being provided. If that is the case, then the translations can also be provided while doing Keertan in the prescribed framework of Guru Granth Sahib. After all there are thousands of tunes that can be created from each of the prescribed Raag and these tunes need not be highly classical in order to cater to the tastes of the youth. Even Gurus did not allow the dominance of classical music over the Shabad.

Gurus support forwardness but where should we draw the line? Who knows, next could be an experiment with Jaap Sahib being sung in RAP STYLE! Will Jaap Sahib in RAP STYLE lead to feelings of spirituality?

The future of Keertan lies in the hands of present day Keertanias. They need to definitely look at ways of improvising and attracting the youth but not at the cost of further deterioration of Keertan. Our Keertanias should first make the effort to acquire full knowledge of the musical framework of Guru Granth Sahib and adapt from within it, to be attract the youth not ona short term basis but on long term basis.

| have full faith in the Guru and believe that if our Keertanias make an earnest effort to implement the commands of Guru Granth Sahib in their Keertan singing style, then the pied pipers will not need to walk the streets to attract the youth, they will come to the Gurudwaras by themselves.

In the next sequel to this article we will examine another aspect of Keertan singing that has gone unchecked for years and is leading us on the path contrary to that Gurmat. FLOW AND PAUSE IN GURBANI & KEERTAN follows..........

Flow and Pause in Gurbani & Keertan

Amardeep Singh, #01-04 Kentish Green, 20 Oxford Road, Singapore 218815 Phone : 63964710 (Res), 98326508 (Mobile)

It is important to understand a few terminologies before we proceed further.

Rahau - While reading through a Shabad in Guru Granth Sahib, we find that one line has a word RAHAU written at the end. Except for Raag Majh, we find the mention of Rahau in nearly all the other Bani. Depending on the type of Shabad (Chaupada - 4 liner, Ashtpadi - 8 liner, etc.) it has that many defined lines. Somewhere in the middle, or in the beginning of the Shabad one line has the word Rahau mentioned, with the numeral 1.

The word rahau means WAIT.... PAUSE....in Punjabi "Therau". Gurus have clearly indicated that while reading the Shabad, take a PAUSE on this line. Why Pause? Because the line with RAHAU has the central theme of the Shabad. This is the line in which Guru is conveying the topic discussed in the Shabad and it contains the Gurmat Vichar, the RIGHT THOUGHT. Therefore we are required to pause on this line and contemplate the message. The other lines in the Shabad are used to explain/extrapolate the contents of the Central Theme given in the line of Rahau. These other lines (the non- Rahau lines) talk about prevalent practices, arguments, reasoning, intention, etc. and are used for strengthening/explaining the Central Theme.

The point to note is that the numbering of lines is meanigful: the numbering conveys a definitive message. The message here is: Wait/Pause and contemplate on the message. In this line the Guru is telling us the theme of the Shabad. The number 1 of Rahau indicates ,read this line carefully. Now read the other (non-Rahau Line) line, and correlate it to the message in Rahau. Now proceed to other (Non-Rahau) line thereby keep proceeding with all the other lines in a sequential manner.

At times, if rarely, we find more than one rahau ina Shabad. All the Rahaus in that Shabad (usually 2,3 or 4) convey the same central theme: reflect on truth. Gurus thought it appropriate to explain the same central theme in different combination of words and therefore gave more than one Rahau.

Asthai - In Keertan (or any music) we find one line keeps getting repeated time and again. This common line, which is repeated each time after a different line, is known as Asthai in Indian Classical Music, or Chorus in the Western Music.

Antra - |n Keertan (or any music) after singing the Asthai (the repetitive line) a different line is sung, and upon its completion the Asthai is sung again and then a second different line is sung, followed by Asthai. This changing line is known as Antra in Indian Classical Music.

The purpose of Keertan is to deliver the Gurus’ message sweetly to the listener. As Rahau has the central theme of the Shabad and contains the spiritual message, its usage, as an Asthai is repeated time and again after every Antra, which helps in the message getting drilled into the listener’s mind. The result is that the Guru’s message gets delivered many times while the Shabad is being sung. This increases the probability of retention of the central theme (Gurmat Vichar) by the listener’s mind.

Let me take a very popular Shabad from Siri Raag, Page 44, which is sung by Raagis during a happy occasion in the family. Most of the Sikhs will remember the shabad by its popularly known line:

Lakh khushiya patshahiya

jey satgur nadar karey ..........

It’s commonly found that Raagis make the above line as the Asthai while singing the shabad because of the word Khushiya (Happiness). This line is the second non-Rahau line in the Shabad and gets commonly used as the Asthai while singing.

The English translation of the Shabad is:

SRI RAAG, MEHLA V: All happiness is achieved only by Thy Grace. The precious gift of this human life becomes fruitful when one chants the True Word. One who has such destiny written on his forehead enters the Mansion of the Lord’s Presence through the Guru. | | 1 | | O my mind, focus your consciousness on the One. Without the One, all involvlements are worthless; emotional attachment to a mirage is verily false. | | 1 || Pause || Hundreds of thousands of princely pleasures are yours to enjoy if the True Guru bestows His Glance of Grace. If He bestows the Name of the Lord, even fora moment, my mind and body are soothed. Those who have such pre-ordained destiny hold tight to the Feet of the True Guru. || 2 ||

Blessed is that moment, and fruitful is that time, when one is in love with the True Lord. Suffering and sorrow do not touch those who have the Support of the Name of the Lord. Grasping him by the arm, the Guru lifts them up and out, and carries them across to the other side. [| 3 || Embellished and immaculate is that place where the Saints gather together. He alone finds shelter who has met the Perfect Guru. Nanak builds his house upon that site where there is no death, no birth, and no oldage. || 4//6]] 76]/|

If we were to sing this Shabad in proper Keertan singing style by making Rahau (Mere man eikas sio chit laaye/eikas bin sabh dhund hai/sabh mithiya moh maye) as Asthai for repetition, then upon reaching second Antra, the message that will get repetitively get delivered to the mind will be that we need to first make an effort to get our mind to focus on One God, give up attachment to Maya and emotional entanglements. If we succeed in achieving this state of mind, then (as stated in the second Non- Rahau line) thousands of Pleasures will be attained (only if) if His Grace falls upon us.

Note that the CONDITION (Rahau line to be used as Asthai) is that we make the effort to rid our mind of attachment/Maya, then the RESULT (Non-Rahau line to be used as Antra) is - if Satguru deems it worth then he provides hundreds of pleasures to the devotee.

Unfortunately, this Shabad is commonly sung by Raagis by making the non- Rahau Line No.2 as the Asthai (Lakh khushiya patshahiya jey satgur nadar karey....), which gets repeated many a times during the Shabad singing. Now see the change in deliverability of the message to our mind. We are seeking from our Guru thousands of pleasures, by His Grace and, upon getting them, we will then strive towards ridding our mind of attachment/Maya! Note that by using the non-Rahau line as Asthai, the CONDITION has changed to: if Satguru deems it worth, then He provides hundreds of pleasures to us and the RESULT (Rahau line being used as Antra) is that we will make the effort to rid our mind of attachment/Maya!

By using the non-Rahau line in this Shabad as Asthai, our mind is subconsciously being told to live on HOPE, rather than make the EFFORT, which is the reverse of what the Guru is telling us in this Shabad, viz.- Devotee first makes the EFFORT and then HOPE should arise for His Grace.

Interesting....isn’t it? We tend to ignore the finer details of Gurus’ message, which is so clear............0000 Probably that’s the reason why Sikhs of today lack the spirit/spiritual discipline for which our forefathers were known. | hope people will start making an effort of getting the Sikhs in their immediate contact to understand the importance of Rahau in Keertan singing, and strive towards singing Keertan in the correct manner.

Those who are active in Gurudwara Management/teaching Keertan should make it a point to teach to the youth only those Shabads in which Rahau is made the Asthai. For a teacher to correct what he has already learnt in so many years is a tough proposition, but he can definitely make an effort to select those Shabads from his Keertan bank for teaching the youth/children, in which the Rahau is made the Asthai. In this way, we may be able to slowly steer in the direction of true deliverance.