Shivpreet Singh
Shivpreet Singh
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The Music

The original composition that this melody is inspired from was from Bhai Gopal Singh Ragi. This is one of the shabads I loved listening to from childhood and I have put my own twist to the melody and especially the arrangement. While the shlok is listed under Raag Sorath in the Guru Granth Sahib, Bhai Gopal Singh ji composed this in Raag Bhairavi. 

The Shabad

This shabad is actually a Shlok written by Guru Amar Das from Guru Ram Das' Vaar, Sorath Ki Vaar:


ਸਲੋਕੁ ਮਃ ੩ ॥
सलोकु मः ३ ॥
Salok mėhlā 3.
Shalok, Third Mehl:

ਸਤਿਗੁਰ ਕੀ ਸੇਵਾ ਸਫਲੁ ਹੈ ਜੇ ਕੋ ਕਰੇ ਚਿਤੁ ਲਾਇ ॥
सतिगुर की सेवा सफलु है जे को करे चितु लाइ ॥
Saṯgur kī sevā safal hai je ko kare cẖiṯ lāe.
Service to the True Guru is fruitful and rewarding, if one performs it with his mind focused on it.

ਮਨਿ ਚਿੰਦਿਆ ਫਲੁ ਪਾਵਣਾ ਹਉਮੈ ਵਿਚਹੁ ਜਾਇ ॥
मनि चिंदिआ फलु पावणा हउमै विचहु जाइ ॥
Man cẖinḏiā fal pāvṇā haumai vicẖahu jāe.
The fruits of the mind's desires are obtained, and egotism departs from within.

ਬੰਧਨ ਤੋੜੈ ਮੁਕਤਿ ਹੋਇ ਸਚੇ ਰਹੈ ਸਮਾਇ ॥
बंधन तोड़ै मुकति होइ सचे रहै समाइ ॥
Banḏẖan ṯoṛai mukaṯ hoe sacẖe rahai samāe.
His bonds are broken, and he is liberated; he remains absorbed in the True Lord.

ਇਸੁ ਜਗ ਮਹਿ ਨਾਮੁ ਅਲਭੁ ਹੈ ਗੁਰਮੁਖਿ ਵਸੈ ਮਨਿ ਆਇ ॥
इसु जग महि नामु अलभु है गुरमुखि वसै मनि आइ ॥
Is jag mėh nām alabẖ hai gurmukẖ vasai man āe.
It is so difficult to obtain the Naam in this world; it comes to dwell in the mind of the Gurmukh.

ਨਾਨਕ ਜੋ ਗੁਰੁ ਸੇਵਹਿ ਆਪਣਾ ਹਉ ਤਿਨ ਬਲਿਹਾਰੈ ਜਾਉ ॥੧॥
नानक जो गुरु सेवहि आपणा हउ तिन बलिहारै जाउ ॥१॥
Nānak jo gur sevėh āpṇā hao ṯin balihārai jāo. ||1||
O Nanak, I am a sacrifice to one who serves his True Guru. ||1||


Another Shlok With Similar Beginning


There is another shabad that uses the first line. This one is also a Shlok by Guru Amar Das from a vaar in Bihaagra by Guru Ram Das.  

ਸਲੋਕ ਮਃ ੩ ॥
सलोक मः ३ ॥
Salok mėhlā 3.
Shalok, Third Mehl:

ਸਤਿਗੁਰ ਕੀ ਸੇਵਾ ਸਫਲ ਹੈ ਜੇ ਕੋ ਕਰੇ ਚਿਤੁ ਲਾਇ ॥
सतिगुर की सेवा सफल है जे को करे चितु लाइ ॥
Saṯgur kī sevā safal hai je ko kare cẖiṯ lāe.
Fruitful is service to the True Guru, if one does so with a sincere mind.

ਨਾਮੁ ਪਦਾਰਥੁ ਪਾਈਐ ਅਚਿੰਤੁ ਵਸੈ ਮਨਿ ਆਇ ॥
नामु पदारथु पाईऐ अचिंतु वसै मनि आइ ॥
Nām paḏārath pāīai acẖinṯ vasai man āe.
The treasure of the Naam, is obtained, and the mind comes to be free of anxiety.

ਜਨਮ ਮਰਨ ਦੁਖੁ ਕਟੀਐ ਹਉਮੈ ਮਮਤਾ ਜਾਇ ॥
जनम मरन दुखु कटीऐ हउमै ममता जाइ ॥
Janam maran ḏukẖ katīai haumai mamṯā jāe.
The pains of birth and death are eradicated, and the mind is rid of egotism and self-conceit.

ਉਤਮ ਪਦਵੀ ਪਾਈਐ ਸਚੇ ਰਹੈ ਸਮਾਇ ॥
उतम पदवी पाईऐ सचे रहै समाइ ॥
Uṯam paḏvī pāīai sacẖe rahai samāe.
One achieves the ultimate state, and remains absorbed in the True Lord.

ਨਾਨਕ ਪੂਰਬਿ ਜਿਨ ਕਉ ਲਿਖਿਆ ਤਿਨਾ ਸਤਿਗੁਰੁ ਮਿਲਿਆ ਆਇ ॥੧॥
नानक पूरबि जिन कउ लिखिआ तिना सतिगुरु मिलिआ आइ ॥१॥
Nānak pūrab jin kao likẖiā ṯinā saṯgur miliā āe. ||1||
O Nanak, the True Guru comes and meets those who have such pre-ordained destiny. ||1||
I am participating in an event organized by Oneness USA at the New Jersey Performing Arts Center on Nov 23. The organizers requested me to sing Satgur Nanak Pargateya for a portion of the program, so I made a composition yesterday and recorded it. Bhai Gurdas' love for Guru Nanak shines through this one.


Sathguru Nanak pargateya miti dund jag chanan hoya 
With the emergence of the true Guru Nanak, the mist cleared and the light scattered all around. 

Jiou(n) kar sooraj nikaliaa thaarae shhapae a(n)dhhaer paloaa

As if at the sun rise the stars disappeared and the darkness dispelled. 

Si(n)gh bukae miragaavalee bha(n)nee jaaeae n dhheer dhharoaa
With the roar of the lion in the forest the flocks of escaping deer now cannot have endurance. 

Jithhai baabaa pair dhharai poojaa aasan thhaapan soaa
Wherever Baba put his feet, a religious place was erected and established. 

Sidhh aasan sabh jagath dhae naanak aadh mathae jae koaa
All the siddh-places now have been renamed on the name of Nanak. 

Ghar ghar a(n)dhar dhharamasaal hovai keerathan sadhaa visoaa
Everyhome has become a place of dharma where singing. 

Baabae thaarae chaar chak na kha(n)dd prithhamee sachaa dtoaa
Baba liberated all four directions and nine divisions of earth. 

Guramukh kal vich paragatt hoaa 
Gurmukh (Guru Nanak) has emerged in this kaliyug, the dark age.


Aao saiyo ral deyo ni vadhaai
Men var paaya raanjha maahi

Ajj taan roz mubaarak chaddeya
Raanjha saade vedde vaddeya.
Hath khundi, modde kambal dhareya,
Chaakaan vaali shakal banayi.
Aao saiyo ral deyo ni vadhai

Mukat gauwaan de vich rulda
Jangal juuhaan de vich rulda
Hai koi allah de val bhulda,
Asal haqiqat khabar na kai.
Aao saiyo ral deyo ni vadhai

Bulle shah ik sauda keeta
Peeta zehar piyaala peeta,
Na kujh laha tota leeta.
Dard dukhaan di gathari chaahi
Aao saiyo ral deyo ni vadhai


Come friends come 
Congratulate me
I have found my love
Come congratulate me

An auspicious day has dawned
My lover has come to my courtyard
In his hand he has a staff.
A blanket covers his shoulders.
He is so humble, so lowly
Friends, come congratulate me

His crown rolls among the cattle.
In pastures and forests he wanders.
Could anyone tell he's the Lord?
No one can tell who really is he
Friends, come congratulate me

Bulleh Shah struck a deal 
He drank a cup of poison
He didn't care for gain or loss
He picked up a sack of grief
Friends, come congratulate me

Also: Avoh ni saiyo ral devoh ni vadhayi
Main var paaya raanjhan maahi




Jasbir Jassi: https://youtu.be/U1S-i7J8SyQ
Hans Raaj Hans: https://youtube.com/watch?v=J028h5dDGa8

Farida eh jo disdiyaan dheriyaan
Jinna 

For Complete Lyrics in Gurmukhi:

This poem reminds you someone waiting patiently for love. Although I mostly read contemporary poetry without rhyme, I read this today and easily fell into its lap.

A broken appointment
-Thomas Hardy

You did not come,
And marching Time drew on, and wore me numb,—
Yet less for loss of your dear presence there
Than that I thus found lacking in your make
That high compassion which can overbear
Reluctance for pure lovingkindness’ sake
Grieved I, when, as the hope-hour stroked its sum,
You did not come.

You love not me,
And love alone can lend you loyalty;
–I know and knew it. But, unto the store
Of human deeds divine in all but name,
Was it not worth a little hour or more
To add yet this: Once you, a woman, came
To soothe a time-torn man; even though it be
You love not me?


Brutal
- Andrea Cohen

Brutal to give
the prisoner a window—
a blue sky glimpse—

as if an afterlife
existed. Brutal
for you to parade

in a body
in the same
room where I dream you.





Question - Beloved Master, Over the past ten years I am again and again reminded of the words of Kahlil Gibran: "Man cannot reap love until after sad and revealing separation and bitter patience and desperate hardship." Please comment.

Osho - It is true about Kahlil Gibran, but not true about love. Kahlil Gibran suffered much despair, anguish. He was not what you find him in his immensely important books, THE PROPHET, THE GARDEN OF THE PROPHET, and JESUS, THE SON OF MAN. Kahlil Gibran was just the opposite.

And that is true about almost all the so-called great artists, painters, poets, sculptors, musicians, dancers. They are trying to fulfill their unfulfilled life in writing poetry, literature. That literature simply signifies their dream, not their reality.

Never meet any man like Kahlil Gibran. Read his book, THE PROPHET -- it is immensely beautiful -- but avoid Kahlil Gibran himself, because you will be very much disappointed, for the simple reason that you cannot believe that this man has produced one of the classics of the whole of history. His book stands like an Everest, but he himself lies deep down in the dark valley of despair, existential meaninglessness: angry about life, angry with life, angry about everything. And the reason is simple. It is a psychological truth that whatever you miss in your life, you fulfill in your dreams. Your dreams show what you are missing in your life.

You can try small experiments and you will be able to see it. Just fast one day, and in the night you can be certain of having a great feast in your dreams -- all delicious foods, perhaps an invitation from the king, or the president in the White House. Your dream shows that during the day you have been hungry. These creative people are able to put their dreams into their writings -- but they are their dreams.

So what Kahlil Gibran says about love is the experience of a man who wanted to love but could not love. He could not love because of his ego. The first need of love is that you should put aside your ego; and artists, poets, painters, musicians, are very egoistic people.

Kahlil Gibran could not put his ego aside. It was not love that became his despair, it was his ego that would not allow him freedom to move into the world of love. He was chained. The longing for love and being chained to the ego created the whole tension, the anguish of his life. He has to be pitied. He is certainly one of the greatest geniuses of this century, but that does not make him a great lover. The very fact that he was a great genius helped him to go on nourishing his ego. He never could become innocent like a child -- of which he talks again and again in his writings. That is his dream.

So remember, while you are reading books written by unenlightened people, looking at paintings, sculpture, architecture made by unenlightened people, beware. These people were not blissful people themselves. They were capable of projecting their dreams, but they were not able to transform their dreams into a living reality within their own being. They were utter failures as far as their own being is concerned.

Love does not need you to go into depression, despair, no -- just the opposite. Love needs you to go into silence, into peace, into meditativeness, into a tremendous rejoicing -- rejoicing just in the fact that you are alive. And out of this rejoicing, this dance, love radiates.

According to Kahlil Gibran's statement, before you reach love you have to pass through hell. Strange training... a great school to teach love! And a man who has been in despair, depression, anguish, anxiety, will become farther and farther away from love.

No, if you want to experience love you have to pass through your inner paradise. You have to become centered, you have to become so peaceful that small things of life make you dance. Just a roseflower dancing in the wind, in the rain, in the sun -- and something in you starts dancing with it. You are ready. You have graduated from the school of paradise; now love is your reward.

So I contradict Kahlil Gibran absolutely and categorically, because it goes against my existential experience. I have been through my own paradise, and after that only the fragrance of love remains. You are so blissful that you would like to bless the whole world.

Kahlil Gibran is absolutely wrong. But what he is saying is his own experience, and he never graduated from hell. He never could manage to be a loving human being. He was always sad, always a long face, always angry -- as if he was against existence itself, as if he wanted to ask existence, "Why have you chosen me to be born and suffer?"

If you want to write poetry about love, follow Kahlil Gibran. If you want to experience love, then listen carefully to what I am saying to you.

Source - Osho Book "From Bondage to Freedom"

My take: pretty good words, but in the end Osho seems to himself fall into the ego trap. In the end, Osho dies. But his words live. So do Khalil Gibran's. And, at least in this case Khalil rings truer. You cannot experience love if you have not experienced separation. When this concept is sung, it is sung in bilawal. There are different colors of life and Osho in saying there is only one choice that people have sounds wrong. I believe in choice. You can choose to sing in raag Bhairavi or bilawal and experience love after the suffering of separation. Or you can experience love in Raag Ramkali - in bliss.

How is it possible that all artists and poets are egoistic. True artists and poets are nothing but their art or poetry. They are so well immersed in their works that there is no difference in their art and their own being.

How can a prophet declare himself that he is a prophet. That ego blurs any love he/she may have. A prophet if truth realizes that the prophets of all prophets is the same. Gur gur eko, says Guru Nanak. The teacher of all teachers is one.



Yesterday I sung this beautiful Kabir poem, "I am crazy but I yours"

Practice on Piano - Jo Hum Baora




What do people know?
- Kabir

Silly religious marks on foreheads
Meditating with rosaries in their hands
Like devotion is some child's play

And they call me senseless
What do people know?

They cut living leaves,
They burn dead candles
They worship milk-stoned idols

What do people know?

Who I worship
And who I celebrate
are you, my dear love!

What do people know?

Only you, my love,
Know my secret!
Let people call me crazy!

- Kabir

Translated by Shiv
My wife will be back from work soon. The house is quiet in her absence—just the gentle ticking of the wall clock, the low rustle of leaves outside. It’s in this silence that I find myself humming Rahat Fateh Ali Khan’s Aa Ja O Aa Sajna. A Raag Bhairavi composition. A plea. A waiting.

There is a particular ache Bhairavi carries, the kind that does not shout but simmers gently just beneath the voice. In Indian classical music, every raag is more than a melodic framework; it is a living, breathing emotional state. And Bhairavi? Bhairavi is longing incarnate. It is the sound of someone missing their beloved so deeply that music becomes prayer.

This isn’t just poetic interpretation. While textbooks and academic systems tend to reduce raagas to their scale structures—ascending and descending notes, permitted ornamentations—the deeper tradition, especially among vocalists and folk musicians, holds on to something more essential: bhaav, the emotion.

Raag Bhairavi, with its flattened notes (komal re, ga, dha, ni), evokes pathos. But not the heavy, somber kind of grief we hear in Raag Darbari or the majestic pain of Raag Todi. Bhairavi’s sorrow is more personal. It's the sound of a woman at her doorstep, glancing down the road again and again. It's a village girl carrying her earthen pot to the well, humming Main To Paniya Bharan, her voice both gentle and full of unspoken yearning. It’s the song of Heer, waiting for Ranjha, echoing through Punjab’s fields at dusk.

Consider Ka Karoon Sajni, the timeless Bhairavi composition first immortalized by Bade Ghulam Ali Khan. The translation is simple: What am I to do, my love? Yet every syllable, every glide between notes, carries the depth of someone whose heart has gone searching beyond the physical world. It’s a universal question wrapped in an intimate melody.

The Freedom of Thumri

Part of what allows Bhairavi to carry such richness of emotion is the flexibility of the genre in which it often appears: the thumri. Unlike the strict and rule-bound khayal or dhrupad, the thumri gives the artist freedom to explore raag beyond orthodoxy. In thumri, the raag is not a cage but a suggestion—a fragrance more than a formula.

This is why in thumri, Bhairavi can flirt with notes outside its formal structure, sometimes borrowing shuddha (natural) notes, sometimes gliding into neighboring raagas. You’ll often hear elements of Khamaj, Pilu, or even Sindhu Bhairavi making an appearance. But the soul of the piece—the longing, the bhairav-ness—remains.

This is where Bhairavi differs from Sindhu Bhairavi. While Sindhu Bhairavi is a modern, more malleable cousin that openly accepts all twelve notes of the scale, it lacks the anchored emotional gravity of the original. Sindhu Bhairavi is excellent for devotional and film compositions because of its inclusiveness, but it often feels like a patchwork of possibilities rather than a singular emotional current.

Kirwani, on the other hand, belongs to the Carnatic system and has found popularity in film and fusion contexts. It’s closer to the harmonic minor scale in Western music and carries a darker, more melancholic feel. Kirwani is sadness with sharp edges—sophisticated, intense, and brooding. Bhairavi’s sadness is warmer. It’s rural. It has dust in its feet and anklets in its rhythm.

Bhairavi as a Feeling, Not a Scale

This is why Raag Bhairavi appears everywhere—from classical concerts to folk festivals to Bollywood to Qawwali. Because its emotional register is universally understood. Even if a listener doesn’t know the raag by name, they recognize its feeling. That’s the true power of Indian music—it bypasses the brain and walks directly into the heart.

When Rahat Fateh Ali Khan sings Aa Ja O Aa Sajna, he is not merely performing notes; he is channeling centuries of separation songs, Heer’s whisper, Meera’s cry, Radha’s ache. Bhairavi isn’t just a sound—it’s a state of being.

So yes, while I wait for my wife to return from work, it is Bhairavi that comes to me. Because love, even when it’s just a few hours late, always carries a thread of longing. And music, like love, doesn’t need permission to break the rules—only devotion to follow the feeling.

Suggested Listening Playlist:

  • Ka Karoon Sajni – Bade Ghulam Ali Khan

  • Main To Paniya Bharan – Girija Devi

  • Aa Ja O Aa Sajna – Rahat Fateh Ali Khan

  • Mohe Panghat Pe Nandlal – Lata Mangeshkar (light classical Bhairavi)

  • Heer – Various Punjabi renditions, including Nusrat Fateh Ali Khan




Here is a poem inspired by the song:

Come, My Love


Your laugh—still folded in my sleeve—
returns in the hush between breaths.
You took my heart,
left the ache behind to pace the room.

My eyes, sleepless,
turn like tide toward the door.
What a trick,
this beautiful curse of love—
to light the soul
and leave it burning.

I do not know what waits ahead,
only this quiet calling:
Come, my love. Come.

Some of my Favorite Bhairavi Songs:





And here my own composition in Bhairavi which both I and Kaushiki Chakraborty has sung:



I am composing these days a new Bhairavi composition for a Bulleh Shah song. So I am listening to my favorite Bhairavi compositions:

Bhairavi is sung to remember one's love, often when the love is far. It is considered a "light" raag is often sung at the end of classical concerts. The first song in the list is from one of the greats of Hindustani classical music, Bade Ghulam Ali Khan Sahib. It is said that he composed his famous composition "Kaa Karoon Sajni Aaye Na Baalam," ("What should I do girlfriend, my love has not come"), when his wife passed away.

Although it is little more playful, the song I am composing is "Ghar Aa Vad mere" -- "Love, Come home!"



If the dull substance of my flesh were thought,
Injurious distance should not stop my way;
For then despite of space I would be brought,
From limits far remote, where thou dost stay.

No matter then although my foot did stand
Upon the farthest earth removed from thee;
For nimble thought can jump both sea and land
As soon as think the place where he would be.

But, ah, thought kills me that I am not thought,
To leap large lengths of miles when thou art gone,
But that, so much of earth and water wrought,
I must attend time's leisure with my moan,
Receiving nought by elements so slow,
But heavy tears, badges of either's woe.


****

Beautiful Sonnet, if I paraphrase it means: "If I was made of thought, I would travel long distances fast, and come to you, my Love. However, I am made of slow and heavy elements like earth and water; so in your longing, all I can do is use all the elements I am comprised of and cry"


Couplet based on this:

If I were a feather of thought,
To you I would instantly fly
Alas Of Earth n water I'm wrought,
So just heavy tears I can cry

* wrought = created
To convert love to devotion, you have to convert from bhairavi to Gauri.

Thats the question I repeat in my head when I read this shabad.

The emphasis is usually on "Miloan Meri Mai"

I used to feel that discovery of "other" religions is not important, so my research would be limited. But Guru Nanak removed the fog. His message about Love of the One and Oneness. So now have new found freedom to research and enjoy every aspect of life that can encourage me to sing His praises.

So, when I see a shabad in Raag Gauri, I ask why?

Someone asked me, who tells you these things. I tell them Guru Nanak's Mool Mantra. If applied it removes all sources of anger, frustration, bigotism that we might have.

Or maybe it is about meeting the Guru??

And Parbati Mai is the "Guru" Guru can tell you which attributes you need.
Gur Isar, Gur Gorakh Barma, Gur Parbati Mai.

And the fact remains guru ji's focus is on "Kavan Gun"
So my simran element is "Kavan Gun Mai" not "Miloan Meri Mai"

http://www.youtube.com/watch?v=w5BwXxTdHoU

The more popular bhairavi tune:









rwgu gauVI pUrbI mhlw 5

Raag Gauree Poorbee, Fifth Mehl:

<> siqgur pRswid ]

One Universal Creator God. By The Grace Of The True Guru:

kvn gun pRwnpiq imlau myrI mweI ]1] rhwau ]

By what virtues can I meet the Lord of life, O my mother? 1Pause

rUp hIn buiD bl hInI moih prdysin dUr qy AweI ]1]

I have no beauty, understanding or strength; I am a stranger, from far away. 1

nwihn drbu n jobn mwqI moih AnwQ kI krhu smweI ]2]

I am not wealthy or youthful. I am an orphan - please, unite me with Yourself. 2

Kojq Kojq BeI bYrwgin pRB drsn kau hau iPrq iqsweI ]3]

Searching and searching, I have become a renunciate, free of desire. I wander around, searching for the Blessed Vision of God's Darshan. 3

dIn dieAwl ik®pwl pRB nwnk swDsMig myrI jlin buJweI ]4]1]118]

God is Compassionate, and Merciful to the meek; O Nanak, in the Saadh Sangat, the Company of the Holy, the fire of desire has been quenched.



Two renditions of the shabad. One in Jai taal by Bhai Avtar Singh and one in Chaar Taal.

Gauri Purvi - Kavan Gun Praanpat - Bhai Avtar Singh
Gauri Purvi - Kavan Gun Praanpat - Bhai Gurnam Singh

Why is this shabad addressed to the Mother? Because Mother is the Guru. She is the one who knows true love. She has the attributes that have kept her a Sohagan. So advice needs to come from a mother.

The advice is on beauty. No wonder the shabad is in Gauri. Gauri is the symbol of beauty. She is the wife of Shiva and her beauty is pure.

Fire (Jalan) makes you black. Jalan goes away with saadh sangat.

To become one with Gauri, one has to give up all ego.

To have the melodious voice of koyal, one has to be burnt by separation.


Kali Koyal tu kit gun kaali

Apne preetam ke haon birhai jaali



When it sings, its blackness is forgotten.

It becomes virtuous.



Lets sing Gauri in such a sweet way, that the dirt of our souls is forgotten,



Paarbati Mai appears in various portions of our bani.



The raag is often at contrast with the words. Raag bhairav gets its name from the destructive form of Lord Shiva. But shabads in Raag bhairav are about protection (Raakha Ek Hamara Swami). Similarly, here in Raag Gauri, a contrast is created between the idealism of Gauri with what the singer of the Shabad is: "Roop Heen, Budh bal heenee" - not only is the singer self described as lacking virtues of beauty, but also that of intelligence (budh) and strength (bal).





I surveyed the other shabads sung by raagis. This shabad is one of the ones that my grandmother used to sing. Although I never heard her sing, I retained some of the melodies that my father used to relate to me. And after several years I found the melody sung by Singh Bandhus:



Professor Darshan Singh - Gujri Todi



Poorvi thaat is one of the thaats I have experienced for a long time. But poorvi just has direction. Gauri poorvi has meaning. It was one of the raags I taught to students who used to learn indian classical music from me when I was doing my bachelors degree in Berkeley.



Gauri Poorvi.











Saadh Sang -



Color -- black



<> siqgur pRswid ]

One Universal Creator God. By The Grace Of The True Guru:

rwgu sUhI bwxI syK PrId jI kI ]

Raag Soohee, The Word Of Shaykh Fareed Jee:

qip qip luih luih hwQ mrorau ]

Burning and burning, writhing in pain, I wring my hands.

bwvil hoeI so shu lorau ]

I have gone insane, seeking my Husband Lord.

qY sih mn mih kIAw rosu ]

O my Husband Lord, You are angry with me in Your Mind.

muJu Avgn sh nwhI dosu ]1]

The fault is with me, and not with my Husband Lord. 1

qY swihb kI mY swr n jwnI ]

O my Lord and Master, I do not know Your excellence and worth.

jobnu Koie pwCY pCuqwnI ]1] rhwau ]

Having wasted my youth, now I come to regret and repent. 1Pause

kwlI koiel qU ikq gun kwlI ]

O black bird, what qualities have made you black?

Apny pRIqm ky hau ibrhY jwlI ]

"I have been burnt by separation from my Beloved."

iprih ibhUn kqih suKu pwey ]

Without her Husband Lord, how can the soul-bride ever find peace?

jw hoie ik®pwlu qw pRBU imlwey ]2]

When He becomes merciful, then God unites us with Himself. 2

ivDx KUhI muMD iekylI ]

The lonely soul-bride suffers in the pit of the world.

nw ko swQI nw ko bylI ]

She has no companions, and no friends.

kir ikrpw pRiB swDsMig mylI ]

In His Mercy, God has united me with the Saadh Sangat, the Company of the Holy.

jw iPir dyKw qw myrw Alhu bylI ]3]

And when I look again, then I find God as my Helper. 3

vwt hmwrI KrI aufIxI ]

The path upon which I must walk is very depressing.

KMinAhu iqKI bhuqu ipeIxI ]

It is sharper than a two-edged sword, and very narrow.

ausu aUpir hY mwrgu myrw ]

That is where my path lies.

syK PrIdw pMQu sm@wir svyrw ]4]1]

O Shaykh Fareed, think of that path early on. 41







Another shabad in Gauri Purbi, shows how Gauri is about removing sins and becoming pure:



Rāg gaoṛī pūrbī mėhlā 4.

Raag Gauree Poorbee, Fourth Nanak



Kām karoḏẖ nagar baho bẖariā mil sāḏẖū kẖandal kẖanda hey.

Lust and anger grip my mind



Meeting the Guru, I break their hold,



Pūrab likẖaṯ likẖe gur pāiā man har liv mandal mandā hey. ||1||

Graced by the Guru's wisdom, my mind is imbued with divine love.



Kar sāḏẖū anjulī pun vadā hey.

Praiseworthy it is to recognize the Guru with folded hands,



Kar dandauṯ pun vadā hey. ||1|| rahāo.

Better still, to humbly bow ||1||Pause||



Sākaṯ har ras sāḏ na jāṇiā ṯin anṯar haumai kandā hey.

The faithless know not Your essence;



Like a thorn in the flesh is their Haumai*



Jio jio cẖalėh cẖubẖai ḏukẖ pāvahi jamkāl sahėh sir dandā hey. ||2||

Pushing deeper with every selfish act, bringing only sorrow and Death.



Har jan har har nām samāṇe ḏukẖ janam maraṇ bẖav kẖanda hey.

The faithful, absorbed in Naam, escape the pangs of birth and death,



Abẖināsī purakẖ pāiā parmesar baho sobẖ kẖand barahmandā hey. ||3||

For they have found You, the Imperishable Supreme Being,



Honored in the here and hereafter.



Ham garīb maskīn parabẖ ṯere har rākẖ rākẖ vad vadā hey.

We are poor and deprived, beggars at Your door,



Protect and secure us O Greatest of the great!



Jan Nānak nām aḏẖār tek hai har nāme hī sukẖ mandā hey. ||4||4||

Your servant Nanak finds sustenance and support in You and Your Name.



In Your Name, he finds rest and comfort. ||4|

Notes on Aarti

Historical perspective - 2-3 months.

Background:

Positivity of Guru Nanak on "Importance of Name" is compared to whether he is making fun of the regular aarti.

Nice article on Freedom of Choice.
http://www.sikhiwiki.org/index.php/Freedom_to_choose

What is incorporated in the shabad: Shabad Simran

Repetition elements
Kaisee Aarti
Kaisee aarti hoye

Raag Bhimpalasi and Puriya Dhanasri are more popular in Indian classical music. Not Raag Dhanasri. Someone said this about Dhanasri:

The name Puriya Dhanasri is a misnomer for there isn't an allegiance to raag Puriya or the Marwa thaat here. It is a Poorvi thaat raaga whose name used to be poorvi dhanasri at one time.Raga Dhanasri is an ancient raaga belonging to Kafi thaat and has the same scale as bheempalasi (the latter actually evolved from the former). However, unlike Bheempalasi, "Ma" is given little importance in this raaga and pancham takes its place and therein lies the essential difference between the two raagas. Lore is that Raag Shree also belonged to Kaafi thaat at one point of time but it evolved over time into a poorvi-thaat raaga with the dhaivat becoming komal and other poorvi-features making their way into Shree. The poorvi-face of Shree was then grafted onto Dhanasri as well to create poorvi dhanasri (now called puriya dhanasri). Hope that clarifies things for you. I'd be happy to refer to Bhatkhande ji's books if you need further clarification.

Phrasing


Some examples of Aarti

My memories of Aarti go back to Kirtan programs at our neighbor's house in Delhi. The Mansukhanis.

Bhai Harjinder Singh sings Guru Nanak's Aarti in a Mishrat raag based on Khamaj. At the end of Guru Nanak's Aarti (2:53"), Bhai Sahib changes from Raag khamaj to a more familiar tune based on Raag Dhanasri. Then goes back to the Khamaj at 3:53".

Mishrat (Khamaj, ): Aarti - Bhai Harjinder Singh

Here are renditions in the popular Raag Bhairavi

Bhairavi - Aarti - Bhai Harcharan Singh Khalsa
Bhairavi: Aarti - Unknown , start 3:50"

Changing very little in the notes, Bhai Pritpal Singh skips the komal gandhar, and sings his version of Aarti in Raag Megh. Instead of 5 notes used in the tune for the first line, just 2 along with one grace is need. Sometimes intentionally, and other times unintentionally, small changes are made to existing compositions. Although the change seems subtle, there is a sea change in the mood of this Aarti.
Megh-based: Aarti - Bhai Pritpal Singh

Instead of Komal, Sudha Ga is used, and it changes the mood of the Aarti:
Rageshree-based: Aarti - Bhai Arjan Singh


Small change that I would rather take; beautiful use of sequencing (Pa Ma ga, Ma ga Re). However, I long for 'Dha' in this composition; it comes too late, and too little.

Dhanasri: Aarti - Bhai Parwinder Singh

Bhai Sadhu Singh starts out in a popular bilawal tune, and then turns to the dhanasree tune.
http://radio.sikhnet.com/ramgen/8GH3R/banis/bhai%20sadhu%20singh/bhai%20sadhu%20singh%20-%20aarti.rm?usehostname


I prefer the Aarti sung more often. Guru Nanak's Arti is sung along with several other compositions as in the following example. Normally it is sung in a tune based on raag Dhanasree. Even though Bhai Jasbir Singh uses shudha gandhar sometimes, and occasionally beautifies the ending of the first line in Re, by a slide from Re to Ma, the tune (at least until 3:01"), in essence, is intact.

Dhanasri: Aarti - Bhai Jasbir Singh
Dhanasri: Aarti - Bhai Dilbagh Singh, start at 0:50"
Dhanasri: Aarti - Baba Maan Singh, 12:39" - 14:23" for Guru Nanak's Aarti.
Dhanasri: Aarti - Sant Amar Singh


Bhai Gurpreet Singh sings the Aarti in the enchanting night Raag Malkaus.

Malkaus - Aarti - Bhai Gurpreet Singh, start at 1:51"

The following are renditions are in Dhanasri, in order of my liking for the renditions.

Kaisi Aarti Hoye - Dr. Gurnam Singh

Kaisi Aarti Hoye - Bhai Amarjit Singh Taan

Aarti - Sant Niranjan Singh
Kaisi Aarti Hoye - Bhai Avtar Singh
Kaisi Aarti Hoye - Bhai Gurmej Singh
With video about Sawai Gandharva

puriya dhanasri
http://www.youtube.com/watch?v=vMQrAr0uH3M

Komal re asavari and gujri todi
http://www.youtube.com/watch?v=4hFr5j4LO6w

Madhuvan main jao jao sakhi (Tilang)
http://www.youtube.com/watch?v=yzRdSyZ377U


Man Men Mohan Biraje (Tilak Kamod)
http://www.youtube.com/watch?v=6S5LXrWqvoQ

Kaliyan sang karta rang raliyan (Bahar)
http://www.youtube.com/watch?v=7vx3Nrvc1rA

Kal na pare (Shankara)
http://www.youtube.com/watch?v=P1BvLLiS2Cs

Kahe raja lanat jiyara hamara (Dhani)
http://www.youtube.com/watch?v=HDV2aI1S7u0

Jhana nana Jhana nana baje (Deshkar)
http://www.youtube.com/watch?v=jzJX-1OhcuI

Banara vyahna (Nat malhar)
http://www.youtube.com/watch?v=YxnHGM0e2hs

Bin dekhe padta nahin (Bhairavi)
http://www.youtube.com/watch?v=6p6g6mslCNk




Bhairavi: Har gun gaye mera man sitalaya - Bhai Dyal Singh
Bhairavi: Tu thakur tum pai ardas - Bhai Dyal Singh
Bhairavi: Tun kun re mai ji - Bhai Gurmeet Singh Shaant
Bhairavi: Kahun kot ki kahani - Bhai Gurmeet Singh Shaant
Bhairavi: Aarti - Bhai Harcharan Singh Khalsa
Bhairavi: Aarti - Unknown , start 3:50"
Bhairavi: Gaavo Gun Param Guru Sukh Saagar - Bhai Arjan Singh
Following is a compilation of shabads, grouped by raags, which was made by made by Sardar Santokh Singh ji from Malaysia as of July 2007. This compilation was started by Santokh ji as part of a discussion thread, "Kirtan with English sub-titles," on sikhphilosophy.net.

Summary of Kirtan in Raag category

Adana
He sansar tap harne
Har Gun Gaavo Jagdees
Har gun gavoh jagdees
Sabh dukh haro karunamai

Asa
Uth Farida Ujoo Saaj
Oha Prem Piri
Nam Japo Mere Sajan Saina
Aiso koun bali re
Chandan ka birva bhalaa
Ek achambav dekho bhai
Har aradh na janya
Ram naam saar kal me
Chal re baikunth tujhai lai taroon
Chalange uth naam jap nis basar aradh
Gur mere sang sadaa hai naale
Chuka nihohra sakhi saheri
Kya jana kya hoyega ri mai

Asavari
Bisar Gayee Sabh Tat Parayee
Har ka bilvna bilovo mere bhai
Jithe jaiye bahiye bhalaa kahiye
Vidya vichari ta parupkari
Bin tudh hor je mangna
Hou andin har nam kirtan karo (Bhai Gupal Singh)
Raj leela tere nam banai
Mai moro pritam ram batavoh ri mai
He Gobind Hey Gopal Hey Dyal Lal
Laag phiryeyo tan aas jite
Hou Vaar Vaar Jaoun Gur Gopal

Bageshri
Sadh sangat mil har ko nam
Kaval nayn madhur bayn

Bhairavi
Jalas Tuhi Thalas Tuhi
Jai Jai Jag Karang Srist Ubaran
Ham ghar sajan aye (Partal)
Har gun gaye mera man sitalaya
Tu thakur tum pai ardas
Tun kun re mai ji
Kahun kot ki kahani

Bhairov
Sabhay ghat ram rama bolay
Rakha ek kamara swami
Lagi preet sujaan sio
Dhan Dhan Oh Ram Ben Baaje
Pratpal prabh kripal kavan gun gani
Taiso hi mai dith jaisa satgur sunida

Bhinn Sajdja
Re Man Aiso Kar Sanyasa
Tis agai hai jodhri
Dheero dekh tumhare ranga

Bairari
Jap man satnam sada satnam 1
Jap man har har naam nit dhayee 2

Bairagi
Mere rajan mai bairagi jogi

Bihagara
Mith bolraa je har sajjan swami mora
Sa Rasna Dhan Dhan Hai

Ahir Bhairav
khub khub khub
mohe na bisaro mai jan tera
Baso mere man mai
Karaj tera hovai poora
Dilli ke dilwale teri aagy a mein chalat hain

Basant
Mohan ghar aavoh karo jodadiya
Anand Sahib
Rut Aile Saras Basant Mahe
Dekh Phool Phool Phooolai
Basant Hamre Ram Rang
Kat jaiye re ghar lago rang
Basant Chadiya Phooli Ban Raye

Budha Basant
Holi Kini Sant Sev
Kat Jaiye Re Ghar Lago Rang

Basant (Marwa Ang)
Man kahan bisaryo ram nam (Bhai Gupal Singh)

Basant Hindol
Maha Maham Mumarkhi
Waheguru Waheguru (Avneet Kaur Baljot Kaur)
Lobh Lahar At Nijar Baje

Basant Bahar
Asi Bhavra Baas Lay
Moli Dharti Mohlia Akas
Dekh phool phool phoolai (Amrit Kaur Mehr Kaur)
Aaj hamare mangal char
Tu kae garbay bavalee

Bhimplasi
Nachat fiorat mor (Simran Kaur Gurleeen Kaur)
Jee ki ekai hi paimani

Bhopali
Baaraj Kar Daayan
Lodinda Sajan Mera
Bhavni bhagat bhae
Jachak nam jache jache
Sura so phchaniye (Sukhmanjit Kaur)
Raj Me Raj Jog Me Jogi
Gur ka bachan basi ji naale 1
Gur ka bachan base jee nale 2

Bibhas
Jap man har har nam nidhan

Bilawal
Bolo bhaiya ram nam
Das tere ki benti
Dhiro dekh tumhare ranga
Mohan nind na aaveh 2
Mohan neend na aavai havai 2
Barse megh sakhi
Hou balihari jou prabh dhiavat (Harmindr Kaur, Mohinder Kaur)

Bhatyar
Deenan ko data hai
Rajan kaun tumare aavai
Tera jan ram rasaian mata

Chandrakauns
Jap gobind gopal lal
Panth Chalai Tab Jagat Mein
Farida jangal jangal kya bhaveh

Deshkar
So Dar Kaise Chodiye

Devgandhari
Apne har pe benti kahiye
Mai gurcharni chit laiye

Durga
Ek tuhi ek tuhi
Sajana sant aavoh mere
Diwali Di Raat Deevay
Sajna sant aavoh mere

Dhanasari
bandhna har bandhna
Halat sukh palat sukh (Partal) 1
Halat sukh palat sukh nit sukh simarano 2
Har charan sarana gobind dukh bhanjana
Koi Naam Na Janai Mera

Puriya Dhanasari
Mere ghar aavoh
Man Rango Wadhbhagiyo
Tana bana kachu na soojhai

Gaund
Paniya bin min talfe

Gaudi
Jo Jaano Teon Raakh
Wadhbhagi Har Kirtan Gaiye

Gaudi Gauraree
Har Ke Nam Vithoh Bal Jaoun

Gaudi Cheti
Ab mohe ram apna kar janya
Dekho bhai gyan ki ayi aandhi
Mere sahiba kaun jaane guna tere

Gaudi Biragan
Mere ram ham papi saran pare
Mai Banjaran Ram Ki
Ja ka meet sajan hai samia

Gauri (Siri Raga Ang)
Thir ghar baiso har jan pyare

Gauri (Bhairav Ang)Gujri
Doe kar jod karo benanti (Bhai Gupal Singh)

Gunkali
Sadh sangat asthan hai (Bhai Gupal Singh)

Hamir
Preey ki preet pyari
Tari Re Gur Nimakh Na Man Te

Jaijaivanti
Yudh Kay Jitaiya
ram simar ram simar
Ram bhaj ram bhaj (Guldasta)

Jaitshri
Rakh Lehu Pat Meri
Yar ve preye habe sakhiyan

Jaunpuri
Aaj more aaye hain

Jog
Bhalo samo simran ki bariya

Kafi
Tu Chao Sajan Maindiya
Madho Aise Bane Tum Sange
Sajjan mere rangule
Magh batit bhai rut phagan

Yaman Kalyan
Aaj moray aaye hain
Man Chaao Bhaya Praph Aagam Sunya
Gun Naad Gun Aanand
Har Har Simro Sant Gopala 1
Har Har Simro Sant Gopala 2
Bin kartar na kirtan mano
Gur ke charan ji ka nistara
Kaun bidh ta ki kaha karu
Sajan tere charan ki
Gun naad dhun anad bhed
Har jee mata har ji pita
Mere hiyre ratan nam har vasiya
Mere lalan ki sobha

Kalavati
Pati tore malini (composition by Gian Singh Ji Almast)

Kalingra
Man re sansar ang gahira

Abhogi Kanra
Dhyan dharo teh ko man me
Sajana Sant Aavoh Mere
Waheguru tera sabh sadka

Abhogi Kanada
Tarana

Darbari Kanhara
Kirat prabh ki gawo meri
Laal Mayray Aye Hain
Rajan ke raja maharajan ke maharaja
Guru Ramdas Rakho Sarnayi
Har jas gavoh bhagwan 1
Har Jas Gavoh Bhagvan 2
Kawal nayn madhur bain (Bhai Gupal Singh)
Narayan narpat namaskare

Nayki Kanhra
Anand Rang Binod Hamaaray 1
Anand rang binod hamare 2
Anand rang binod hamare 3

Khamaj
Pritam ke des kaise batan se jaiye 1
Preetam Kay Dayis Kaisay Baatan 2

Kedara
bisrat nahi man te hari
rasna ram ram bakhan
Sarni ayo nath nidhan

Lalit
Hey Gobind Hey Gopal
Darshan deejai khol kivaad
Kaha kou kare kach hot na kahun ke kiye

Maru Bihag
ik nirbhau baat sunee

Shudh Malhar
Baras Ghana Mera Man Bhina

Miyan Ki Malhar
Savan Saras Mana Ghan Barsai
He Gobind He Gopal
Ram Ram Bol Ram Ram
Savan aya ve sakhi

Gaund Malhar
Gur munar priy dyar
Mahi more pritam deho milaye

Megh Malhar
Bhadon bharam bhoole

Malkauns
Chatar chakra varti chatar chakra bhugte
Thakur tum sarnai aya
Mate matang jare jur sang
Jai Jai Jag Karan Srist Ubarang

Madhuvanti
Mero sundar kaho milai kit gali
Anand Sahib
Hou Bal Jaoun Ramiya Karney

Majh
Tu Mera Pita Pita Tu Hai Mera Mata
Hou reh na sakaa bin dekhai pritma
Madhsudan mere man tan prana

Maaligaura (Also Maligaura)
Sabai Ghat Ram Bole

Maru
Sanjog vijog dhuroh hi hovah

Nat
Hou var var jaou gur gopal
Kou hai mero sajan meet
Charan kamal sang algi dori

Pahadi
Jahu kahu apno hi chit aaveh

Patdeep
Aape Gur Chela Hai Aape
Koi Jan har siao devai jor

Poorbi
Preet man lagi

Pradipki
Prabh su lag ryo mera chit

Rageshwari
Sun Sajan Prem Sandesda

Ramkali
Jap gobind gopal lal
Anand Sahib 1
Anand Sahib 2
Man vajiyan vadhaiyan

Bindrabani Sarang
Lal Lal Mohan Gopal Tu 1
aise hoye pari
Har bin koun sahai man ka
Subh bachan bol gun amol
Lal Lal Mohan 2
Gopal tera aartaa
Subh bachan bol gun amol kinkari bichar

Shudh Sarang
Meri Abhai Benti Sun Leejai
Jap man mere eko nam
Kou har samaan nahi raja

Shivranjani
Waha guru tera sab sadka

Sorath
Sorath taam suhavnee
prabh ju toke laj hamari
Rain dinas parbhat tuhe hi gavna
Ham dhadhi har prabh khasam ke
Madhveh tum na toro to ham nahin tore
Prabj jeeo khasmana kar pyare
Sun Meeta Dhuri Kou Bal Jayee

Shri
Hou dhadhi har parbh khasam ka
Mat jan seh galli paya
Har bin jeeo (Manglacharan)
Tohi mohi mohi tohi
Manglacharan
Rajaram anhad kingri baje

Suhi
Preet preet guriya mohan lalna 1
Preet preet guriya mohan lalna 2

Tilang
Halay Yara Halay Yara Khush Khabri
Tou darsan ki karo samai
Sapat suran (Chaturang)

Tilang Kafi
Chatna Hai To Chaat Lay

Todi
Joban jande naa daraa
Mai gobind puja kaha lai charavoh

Gujri Todi
Tu data jiyan sabh na ka
Jagat jalanda rakh le apni kirpa dhar

DesiTodi
Amrit Pivoh Sadaa Chir Jivoh
Hou Vaar Vaar Jaoun
Aaj more aaye hain

Bilaskhani Todi
Aiso gun mero prabh ji keen
Kaun ko kalank rahiyo

Tukhari
Ghol Ghumaai Laalna 1
Nirgun Rakh Liya Santan Ka Sadka
Ghol ghumai lalna
Antar Piri Pyaar
Ghol Ghumai Lalna 2
Ghol Ghumai Lalna 3

Wadhans
At ooncha ta ka darbara
Sewak Ki Ardas Paiyaray

Guldasta of Raags
sun yar hamare sajjan karo benantiya Bhairavi, Bilaskhani Todi, Bhupal Todi, Lachari Todi
Karat karat charach charach charchari Nayki Kanada, DarbariKanada, AdanaPartaal (Mahesh Taal, Rupak, Tintaal, Iktaal, Soolfak, Keherva)
Sajana sant aavoh mere Malkauns, Bageshri, Multani, Jaijaiwanti, Durga, Hamir
Bajat basant (Guldasta)
Basant chadiya phooli ban rae Guldasta (Shuddh Basant, Basant Hindol, Basant Bahar)Panjtaal, Iktaal, Tintal
Bhairav Gave Guldasta (Not Gurbani)
Sajana sant aavoh mere Guldasta (Malkauns, Bageshri, Multani, Hameer, Sorath, Jaijawanti, Durga, Bahar, Basant)
Narayan narpat namaskare Kanada Guldasta (Darbari Kanada, Nayki Kanada, Adana, Kafi, Malkauns, Chandrakauns, Bageshri etc.)
Ram bhaj ram bhaj janam sirat hai Jaijawanti, Des, Tilak Kamod, Khamaj, Kalavati, Rageshri

New additions to Guldastas
http://www.youtube.com/watch?v=ETlvDxJsfto
01 - Balbir Singh - Jis Piyare Sio Neh (Sri Raag Mahalla 2)
Artist:
Balbir Singh (Hazoori Ragi Sri Darbar Sahib Amritsar)
Album:
Raag Guldasta Volume 1
01 - Balbir Singh - Aate Pritam Man Mohna (Raag Bihagra Mahalla 5)
Artist:
Balbir Singh (Hazoori Ragi Sri Darbar Sahib Amritsar)
Album:
Raag Guldasta Volume 2
01 - Balbir Singh - Mokoa Taar Le Rama Taar Le (Raag Gond Baani Naam Dev Ji)
Artist:
Balbir Singh (Hazoori Ragi Sri Darbar Sahib Amritsar)
Album:
Raag Guldasta Volume 3
01 - Balbir Singh - Merre Man Sev Safal Har Ghall (Pardtaal Raag Nut Narain Mahalla 4)
Artist:
Balbir Singh (Hazoori Ragi Sri Darbar Sahib Amritsar)
Album:
Raag Guldasta Volume 4
01 - Balbir Singh - Nanak Tinna Basant Hai (Raag Basant Mahalla 2)
Artist:
Balbir Singh (Hazoori Ragi Sri Darbar Sahib Amritsar)
Album:
Raag Guldasta Volume 5
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SHIVPREET SINGH

Singing oneness!
- Shivpreet Singh

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