So kyon visrai or Akhan Jeevan

I was in the basement of the American Sikh Aashram. The year was 1995. I felt like composing something new. All I had for material was the Nitnem gutka, which is often used to recite the daily prayers of the Sikhs. And I stumbled onto Guru Nanak's shabad, Aakhan Jeevan (saying I live, forgeting I die).

I sang this shabad for the first time in sangat at an IIGS program at our home in March 1996.

Then, and for several years, I sang the shabad starting with Aakhan Jeevan; it was still quite beautiful. However, lately I have been singing it from the rahao tuk. I believe several hidden rhymes are unearthed when one sings the shabad using the rahao tuk.

Here is a recording:
I use the gandhar to depict life, and fall to dhaivat to depict death.

Raag Charukeshi is a more recent addition to North Indian Classical music.

This raag a unique balance between the two modes of western music: major and minor, and therefore it uniquely amalgamates two diametrically opposite feelings of happiness and sadness. (Charukeshi can exude just sadness if 'Ma' is the vadi, because then it sounds just like the western minor mode -- listen to Schubert Impromptu Op. 90, No. 1

Notice the usage of the both gandhars and both dhaivats in this version of Charukeshi by Pandit Vishwanath:

The following video shows how the raag has been used in a Bollywood classical song: the happiness of an engagement event, and the merry dancing couples, and in sharp contrast with the sadness of the singer who is losing his girl to this engagement. Suresh Wadekar, who is one of the most riyaaz-perfected singers in the industry, sings this song.
Aur Is Dil Main Kyaa Rakha Hai

Notes from Feb 8, 2011
This might be raag Ahiri instead of Charukeshi.
The recording:
Nikhil Banerjee's recording:

Gopal Tera Aarta - Bhai Amrik Singh Zakhmi

Dr. Gurnam Singh sings this shabad in Raag Asa.

So Kyon Visrai Meree - Dr. Gurnam Singh (Chanchal)