Shivpreet Singh
Shivpreet Singh
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Tera Sadra - Guru Nanak




Shabad in Gurbani

ਜੋਗੀ ਹੋਵੈ ਜੋਗਵੈ ਭੋਗੀ ਹੋਵੈ ਖਾਇ ॥
ਤਪੀਆ ਹੋਵੈ ਤਪੁ ਕਰੇ ਤੀਰਥਿ ਮਲਿ ਮਲਿ ਨਾਇ ॥੧॥

ਤੇਰਾ ਸਦੜਾ ਸੁਣੀਜੈ ਭਾਈ ਜੇ ਕੋ ਬਹੈ ਅਲਾਇ ॥੧॥ ਰਹਾਉ ॥

ਜੈਸਾ ਬੀਜੈ ਸੋ ਲੁਣੇ ਜੋ ਖਟੇ ਸੋੁ ਖਾਇ ॥
ਅਗੈ ਪੁਛ ਨ ਹੋਵਈ ਜੇ ਸਣੁ ਨੀਸਾਣੈ ਜਾਇ ॥੨॥

ਤੈਸੋ ਜੈਸਾ ਕਾਢੀਐ ਜੈਸੀ ਕਾਰ ਕਮਾਇ ॥
ਜੋ ਦਮੁ ਚਿਤਿ ਨ ਆਵਈ ਸੋ ਦਮੁ ਬਿਰਥਾ ਜਾਇ ॥੩॥

ਇਹੁ ਤਨੁ ਵੇਚੀ ਬੈ ਕਰੀ ਜੇ ਕੋ ਲਏ ਵਿਕਾਇ ॥
ਨਾਨਕ ਕੰਮਿ ਨ ਆਵਈ ਜਿਤੁ ਤਨਿ ਨਾਹੀ ਸਚਾ ਨਾਉ ॥੪॥੫॥੭॥

Shabad in Hindi

जोगी होवै जोगवै भोगी होवै खाऎ ॥
तपीया होवै तप करे तीरथ मल मल नाऎ ॥१॥

तेरा सदड़ा सुणीजै भाई जे को बहै अलाऎ ॥१॥ रहाओ ॥

जैसा बीजै सो लुणे जो खटे सो खाऎ ॥
अगै पुछ न होवई जे सण नीसाणै जाऎ ॥२॥

तैसो जैसा काढीऐ जैसी कार कमाऎ ॥
जो दम चिति न आवई सो दम बिरथा जाऎ ॥३॥

इहो तन वेची बै करी जे को लए विकाऎ ॥
नानक कम न आवई जित तन नाही सचा नाओ ॥४॥५॥७॥


Shabad in English
Jogī hovai jogvai bẖogī hovai kẖāe.
Ŧapī▫ā hovai ṯap kare ṯirath mal mal nāe. ||1||

Ŧerā saḏṛā suṇījai bẖāī je ko bahai alāe. ||1|| rahā▫o.

Jaisā bījai so luṇe jo kẖate so kẖāe.
Agai pucẖẖ na hovaī je saṇ nīsāṇai jāe. ||2||

Ŧaiso jaisā kādẖīai jaisī kār kamāe.
Jo ḏam cẖiṯ na āvī so ḏam birthā jāe. ||3||

Eh ṯan vecẖī bai karī je ko lae vikāe.
Nānak kamm na āvaī jiṯ ṯan nāhī sacẖā nāo. ||4||5||7||


Translation by Dr. Sant Singh Khalsa
The Yogi practices yoga, and the pleasure-seeker practices eating.
The austere practice austerities, bathing and rubbing themselves at sacred shrines of pilgrimage. ||1||

Let me hear some news of You, O Beloved; if only someone would come and sit with me, and tell me. ||1||Pause||

As one plants, so does he harvest; whatever he earns, he eats.
In the world hereafter, his account is not called for, if he goes with the insignia of the Lord. ||2||

According to the actions the mortal commits, so is he proclaimed.
And that breath which is drawn without thinking of the Lord, that breath goes in vain. ||3||

I would sell this body, if someone would only purchase it.
O Nanak, that body is of no use at all, if it does not enshrine the Name of the True Lord. ||4||5||7||


Bhai Manmohan Singh Teeka
ਤਿਆਗੀ ਤਿਆਗ ਕਮਾਉਂਦਾ ਹੈ ਅਤੇ ਪੇਟੂ ਖਾਈ ਹੀ ਜਾਂਦਾ ਹੈ। ਜੋ ਤਪੱਸਵੀ ਹੈ, ਉਹ ਤਪੱਸਿਆ ਕਮਾਉਂਦਾ ਹੈ ਅਤੇ ਧਰਮ ਅਸਥਾਨਾਂ ਤੇ ਮਲ ਮਲ ਕੇ ਨਹਾਉਂਦਾ ਹੈ। 
ਮੈਂ ਤੇਰੀ ਕਣਸੋ ਸੁਣਨਾ ਚਾਹੁੰਦਾ ਹਾਂ, ਹੇ ਪਿਆਰਿਆ! ਜੇਕਰ ਕੋਈ ਬਹਿ ਕੇ ਮੈਨੂੰ ਦੱਸੇ। ਠਹਿਰਾਉ। 
ਜਿਹੋ ਜਿਹਾ ਬੰਦਾ ਬੀਜਦਾ ਹੈ, ਉਹੋ ਜੇਹਾ ਹੀ ਉਹ ਵੱਢਦਾ ਹੈ ਅਤੇ ਜਿਹੜਾ ਕੁਛ ਉਹ ਕਮਾਉਂਦਾ ਹੈ, ਉਹੀ ਖਾਂਦਾ ਹੈ। ਏਦੂੰ ਮਗਰੋਂ, ਉਸ ਪਾਸੋਂ ਕੋਈ ਹਿਸਾਬ ਨਹੀਂ ਪੁਛਿਆ ਜਾਂਦਾ, ਜੋ ਉਥੇ ਨਾਮ ਦੇ ਝੰਡੇ ਨਾਲ ਜਾਂਦਾ ਹੈ। 
ਜਿਹੋ ਜਿਹੇ ਕਰਮ ਪ੍ਰਾਨੀ ਕਰਦਾ ਹੈ, ਉਹੋ ਜਿਹਾ ਹੀ ਉਹ ਆਖਿਆ ਜਾਂਦਾ ਹੈ। ਜਿਹੜਾ ਸਾਹ ਸੁਆਮੀ ਦੇ ਸਿਮਰਨ ਦੇ ਬਿਨਾਂ ਲਿਆ ਜਾਂਦਾ ਹੈ ਉਹ ਸਾਹ ਵਿਅਰਥ ਜਾਂਦਾ ਹੈ। 
ਜੇਕਰ ਕੋਈ ਖਰੀਦਣ ਵਾਲਾ ਹੋਵੇ ਤਾਂ ਮੈਂ ਆਪਣੀ ਇਸ ਦੇਹ ਨੂੰ ਆਪਣੇ ਸਾਈਂ ਦੀ ਖਾਤਰ ਵੇਚ, ਵੇਚ ਦੇਵਾਂਗਾ। ਨਾਨਕ, ਉਹ ਸਰੀਰ ਕਿਸੇ ਕੰਮ ਨਹੀਂ ਆਉਂਦਾ, ਜਿਸ ਦੇ ਅੰਦਰ ਸਤਿਨਾਮ ਦਾ ਨਿਵਾਸ ਨਹੀਂ।

Faridkoti Teeka

ਜੋ ਜੋਗੀ ਹੋਵੇ ਹੈ ਵਹੁ ਜੋਗ ਕੀ ਕਿਰਿਆ ਕਰਤਾ ਹੈ ਜੋ ਭੋਗੀ ਹੋਵੈ ਹੈ ਵਹੁ ਖਾਇ ਕਰ ਪ੍ਰਸਿੰਨ ਹੋਤਾ ਹੈ ਜੋ ਤਪਸੀਆ ਹੈ ਸੋ ਤਪ ਕਰਤਾ ਹੈ ਜੋ ਤੀਰਥ ਜਾਤ੍ਰੀ ਹੈ ਸੋ ਤੀਰਥੋਂ ਮੇਂ ਮਲ ਮਲ ਨਾਉਤਾ ਹੈ॥੧॥ 
ਹੇ ਹਰੀ ਜੇ ਕੋਈ ਤੇਰਾ ਪ੍ਰੇਮੀ ਤੇਰਾ ਜਸ ਬੈਠਕੇ ਕਹੇ ਤਉ ਮੈਂ ਸੁਣਾਂ॥ 
ਜੈਸਾ ਬੀਜਤਾ ਹੈ ਕਿਸਾਨ ਤੈਸਾ ਹੀ ਅਨਾਜ ਕਾਟਤਾ ਹੈ ਤੈਸੇ ਹੀ ਜੈਸਾ ਪੰੁਨ ਪਾਪ ਰੂਪ ਕਰਮ ਕੋਈ ਕਰਤਾ ਹੈ ਤੈਸਾ ਹੀ ਅੰਤਸਕਰਣ ਮੈਂ ਅਦ੍ਰਿਸਟ ਰੂਪ ਹੋਕੇ ਇਸਥਿਤ ਹੋਤਾ ਹੈ ਸੋ ਇਸ ਜਨਮ ਮੇਂ ਭੋਗਤਾ ਹੈ ਆਗੇ ਜੋ ਧਰਮ ਅਧਰਮ ਖੱਟੇਗਾ ਭਾਵ ਜਮਾ ਕਰੇਗਾ ਉਸ ਕਾ ਫਲ ਸੁਖ ਦੁਖ ਜਨਮਾਂਤ੍ਰੋਂ ਮੈਂ ਭੋਗੇਗਾ॥ ਪਰੰਤੂ ਜੋ ਪੁਰਖ (ਸਣੁ ਨੀਸਾਣੈ) ਸਹਤ ਪਰਵਾਨੇ ਜਾਵੇਗਾ ਭਾਵ ਨਾਮ ਸੰਯੁਕਤ ਜਾਵੇਗਾ ਭਾਵ ਨਾਮ ਸੰਯੁਕਤ ਜਾਵੈਗਾ ਤਿਸ ਕਾ ਪਰਲੋਕ ਮੇਂ ਹਿਸਾਬ ਨਹੀਂ ਪੂਛੀਏਗਾ॥੨॥ 
ਜੈਸਾ ਪੁਰਸ਼ ਕਾਮ ਕਰਤਾ ਹੈ ਤੈਸਾ ਹੀ ਤਿਸ ਕਾ ਨਾਮ ਕਹੀਤਾ ਹੈ ਹੇ ਪਰਮੇਸ੍ਵਰ ਪਰੰਤੂ ਤੂੰ ਜਿਸ ਸ੍ਵਾਸ ਮੇਂ ਚਿਤ ਨ ਆਵੈ ਸੋ ਸ੍ਵਾਸ ਬਿ੍ਯਰਥ ਜਾਤਾ ਹੈ॥੩॥ 
ਇਸ ਸਰੀਰ ਕੋ ਵੇਚਾ ਮੁਲ ਕਰਕੇ ਜੋ ਕੋਈ ਵਿਕਦੇ ਕੋ ਗੁਰੂ ਸੰਤ ਲਵੇ ਭਾਵ ਦੇਹ ਅਭਿਮਾਨ ਤੇ ਰਹਤ ਹੋ ਸੇਵਾ ਕਰੇ ਮੋਲ ਵਿਕੇ ਕਾ ਮਾਨ ਨਹੀਂ ਹੋਤਾ ਗੁਰੂ ਜੀ ਕਹਤੇ ਹੈਂ ਹੇ ਪਰਮੇਸ੍ਵਰ ਏਹ ਤਨ ਕਿਸੇ ਕੰਮ ਨਹੀਂ ਆਉਤਾ ਜਿਸ ਸਰੀਰ ਮੇਂ ਤੇਰਾ ਸਚਾ ਨਾਮ ਨਹੀਂ॥੪॥੫॥੭॥

Potential Images for Album cover/Video: 









We liked the last picture the best, because the bird seems to be singing, it is sitting and it seems contemplative.


Thanks

Thanks to Abhijit Chakraborty, Harry Anand, and Jania Kapoor for their invaluable contributions on this project.



Dear friends ... my celebration for #GuruNanak550 continues as I release a new colorful album today, "Rang Rataa," which has five shabads in five different colors. Rang means color, and rataa means imbued.


The first shabad, Rang Rataa, which was released earlier this year as a single, features one of the best finger guitarists in the US and my wonderful friend, Muriel Anderson. This is one of the two compositions of this shabad ... the other one in Raag Shri is still in the making. The other four shabads are in the raag that Guru Nanak used to sing in.

My special gratitude to my dear friend Ahsan Ali for pouring his immense love and co-producing Mere Laal Rangeele in Raag Tukhari (a raag that Guru Nanak composed himself). In Mera Prabh Raang Guru Nanak uses Rajasthani and is sung in Raag Parbhati.

Kusambhare is a Baba Sheikh Farid shabad about the impermanence of life like the color of a flower, which Guru Nanak used to sing in Raag Suhi Lalit. This is a new take on this raag and I will explain at some point why I believe Guru Nanak sang it like this. The last shabad, "Manjeethra" in Raag Suhi is a direct response of Guru Nanak to the previous shabad "Kusambhare" and talks about how the color of Name is "Manjeethra" or permanent despite the impermanence of life.

You should be able to find the audio versions of this shabad on iTunes, Spotify and YouTube and many other platforms.

May you all be imbued in the color of love. Now I can continue on the celebration ...

Links to Music: Spotify, Apple Music, iTunes, Google Music, YouTube Music

Today is my little sister Simer’s wedding in India. While I couldn’t attend in person, I am celebrating with the release of “Saajan” - an album with 5 shabads. Saajan means “Beloved”. The cover concept and design is by my 13 year old daughter Jania. It shows Guru Nanak and his Rebab playing bard, Bhai Mardana. Superimposed on this is Simer’s wedding dress. The colors coordinate with the Raags in the album.


I’m grateful to five musicians have contributed to this: Ahsan Ali (Sarangi and vocals), Rajesh Prasanna (Bansuri), Jeremy Marais (Saxophone), Rajvinder Singh (Tabla), and Abhijit Chakraborty (Bass). 

Here is the first shabad from this album:


Pritpaala originates from a Pauri by Guru Amardas in Suhi Ki Vaar. It expands on a concept introduced by Guru Nanak in the Mool Mantra, Saibhang, "Existing From Himself." To the best of my knowledge, this beautiful shabad has not been recorded by anyone.


Much gratitude to Slovenian composer Katarina Koprivc for her original and beautiful composition "The Remains of Love," as well as to Enrico Nichelatti for Strings, Suellen Primost for Cello on this track.  In this case, which is somewhat unusual, the music was composed before the melody.  When I first heard this composition from Katarina, I loved it and wanted to sing something along with it.  So I opened a random hymn from the Guru Granth Sahib using an iPhone app and sang along Katarina's composition the following Guru Amardas Pauri.  The Pauri is written in Raag Suhi, a raag about about love, so there was a coincidental match with Katarina's original title, The Remains of Love. But please be aware that this composition is not in Raag Suhi.

ਸੂਹੀ ਕੀ ਵਾਰ: (ਮ: ੩) - ਅੰਗ ੭੮੫  
Suhi Ki Vaar - Guru Amar Das - Page 785

ਆਪੇ ਤਖਤੁ ਰਚਾਇਓਨੁ ਆਕਾਸ ਪਤਾਲਾ ॥
He Himself established His throne, in the Akaashic ethers and the nether worlds.

ਹੁਕਮੇ ਧਰਤੀ ਸਾਜੀਅਨੁ ਸਚੀ ਧਰਮ ਸਾਲਾ ॥
By the Hukam of His Command, He created the earth, the true home of Dharma.

ਆਪਿ ਉਪਾਇ ਖਪਾਇਦਾ ਸਚੇ ਦੀਨ ਦਇਆਲਾ ॥
He Himself created and destroys; He is the True Lord, merciful to the meek.

ਸਭਨਾ ਰਿਜਕੁ ਸੰਬਾਹਿਦਾ ਤੇਰਾ ਹੁਕਮੁ ਨਿਰਾਲਾ ॥
You give sustenance to all; how wonderful and unique is the Hukam of Your Command!

ਆਪੇ ਆਪਿ ਵਰਤਦਾ ਆਪੇ ਪ੍ਰਤਿਪਾਲਾ ॥੧॥
You Yourself are permeating and pervading; You Yourself are the Cherisher. ||1||

Discussion

Let me take four words/phrases from this pauri that I found interesting to meditate upon to understand better the true meaning of these beautiful words:

1. Takhat or Throne: Every heart is God's throne; every song is under His direction


Guru Amardas says, "Your created your own throne in the ethers and the ethers. 

ਆਪੇ ਤਖਤੁ ਰਚਾਇਓਨੁ ਆਕਾਸ ਪਤਾਲਾ ॥
He Himself established His throne, in the Akaashic ethers and the nether worlds.


Throne is the resting place for a king, the ruler, the emperor.  The question is where is the resting place for God. Where does he sit?

In Ramkali, Guru Arjan Dev says, "O king of kings, with the greatest court, final justice, the real doer of everything, you sit on the true throne."  

ਵਡਾ ਤੇਰਾ ਦਰਬਾਰੁ ਸਚਾ ਤੁਧੁ ਤਖਤੁ ॥
The Darbaar of Your Court is glorious and great. Your holy throne is True.


In Raag Asa, Guru Nanak says that the one who sits on the throne is imbued in the five elements.

ਤਖਤ ਨਿਵਾਸੀ ਪੰਚ ਸਮਾਇ ॥
The one on the throne is imbued in five (elements)

So every element, every molecule, every atom is His throne. If you recognize, God resides in your heart. So my own heart is God's throne.  Every heart is God's throne. 

Guru Nanak asks a question in the 27th pauri of Japji Sahib: Where does God sit and rule the world?

ਸੋ ਦਰੁ ਕੇਹਾ ਸੋ ਘਰੁ ਕੇਹਾ ਜਿਤੁ ਬਹਿ ਸਰਬ ਸਮਾਲੇ ॥
Where is that Gate, and where is that Dwelling, in which You sit and take care of all?

And he answers this question in the end:

ਸੋ ਪਾਤਿਸਾਹੁ ਸਾਹਾ ਪਾਤਿਸਾਹਿਬੁ ਨਾਨਕ ਰਹਣੁ ਰਜਾਈ ॥੨੭॥
He is the King, the King of kings, the Supreme Lord and Master of kings. Nanak remains subject to His Will. ||27||

Guru Nanak concludes that it is not "he" that is singing, it is really through the command of the supreme being that he is singing. Every heart is God's throne, and from there he makes Guru Nanak sing. Every heart is singing ... Sabhai Ghat Raam Bolai.  Every song is under His direction. 

2. Dharamsaal: The Earth is a beautiful temple where we come together and sing.


The word Dharamsaal literally means the home of dharma, or a temple.  Just like paathsaal means house of education or school.  Guru Amardas says, "Your beautified the earth like a temple" in the following line: 


ਹੁਕਮੇ ਧਰਤੀ ਸਾਜੀਅਨੁ ਸਚੀ ਧਰਮ ਸਾਲਾ ॥
By the Hukam of His Command, He created the earth, the true home of Dharma.


The concept of the earth being a temple originates from Guru Nanak who says the following in the 34th pauri of Japji Sahib:

ਰਾਤੀ ਰੁਤੀ ਥਿਤੀ ਵਾਰ ॥
Nights, days, weeks and seasons;

ਪਵਣ ਪਾਣੀ ਅਗਨੀ ਪਾਤਾਲ ॥
Wind, water, fire and the nether regions

ਤਿਸੁ ਵਿਚਿ ਧਰਤੀ ਥਾਪਿ ਰਖੀ ਧਰਮਸਾਲ ॥
In the midst of these, He established the earth as a home for Dharma.

Why is earth being a temple important. Its important because of what happens in a temple.  Guru Arjan Dev describes what happens in a temple in a Chhant in Raag Gauri:

ਮੋਹਨ ਤੇਰੇ ਊਚੇ ਮੰਦਰ ਮਹਲ ਅਪਾਰਾ ॥
O Mohan, your temple is so lofty, and your mansion is unsurpassed.

ਮੋਹਨ ਤੇਰੇ ਸੋਹਨਿ ਦੁਆਰ ਜੀਉ ਸੰਤ ਧਰਮ ਸਾਲਾ ॥
O Mohan, your gates are so beautiful. They are the worship-houses of the Saints.

ਧਰਮ ਸਾਲ ਅਪਾਰ ਦੈਆਰ ਠਾਕੁਰ ਸਦਾ ਕੀਰਤਨੁ ਗਾਵਹੇ ॥
In these incomparable worship-houses, they continually sing Kirtan, the Praises of their Lord and Master.

ਜਹ ਸਾਧ ਸੰਤ ਇਕਤ੍ਰ ਹੋਵਹਿ ਤਹਾ ਤੁਝਹਿ ਧਿਆਵਹੇ ॥
Where the Saints and the Holy gather together, there they meditate on you.

Places of worship are made so saints can get together, meditate upon the one and sing the ONE's praises.  The purpose of life is to sing and the earth has been designed to be a place where this singing can be done.  The earth has been designed by God to come together and sing. Earth becomes beautiful when we come together and sing.  

What is singing other than just following the command of the ONE.  Gurbani says Sabhai Ghat Raam Bolai or Every heart is singing in the temple of the earth. 


3. Rijak: Why do we need to worry when we know we will have food!

ਸਭਨਾ ਰਿਜਕੁ ਸੰਬਾਹਿਦਾ ਤੇਰਾ ਹੁਕਮੁ ਨਿਰਾਲਾ ॥
You give sustenance to all; how wonderful and unique is the Hukam of Your Command!

In Sodar Gujri, Guru Arjan Dev asks, "Why, O mind, do you plot and plan when Waheguru, the Pritpaala, the Deen Dayaala, is there to care for you. Even those living beings that are created in the rocks, they get nourishment. Its not the fathers, mothers, children or spouses; its God that provides for every single one. Why is there any need to be afraid. Flamingoes fly hundreds of miles, leaving their young ones behind. Who feeds them, and who teaches them to feed themselves? Have you ever thought of this, dear mind? The one without any end takes care of everyone, the omnipotent one. Slave Nanak endlessly loves the one who holds all power in the palm of His hand."

ਰਾਗੁ ਗੂਜਰੀ ਮਹਲਾ ੫ ॥
Raag Goojaree, Fifth Mehl:


ਕਾਹੇ ਰੇ ਮਨ ਚਿਤਵਹਿ ਉਦਮੁ ਜਾ ਆਹਰਿ ਹਰਿ ਜੀਉ ਪਰਿਆ ॥
ਸੈਲ ਪਥਰ ਮਹਿ ਜੰਤ ਉਪਾਏ ਤਾ ਕਾ ਰਿਜਕੁ ਆਗੈ ਕਰਿ ਧਰਿਆ ॥੧॥

ਮੇਰੇ ਮਾਧਉ ਜੀ ਸਤਸੰਗਤਿ ਮਿਲੇ ਸੁ ਤਰਿਆ ॥
ਗੁਰ ਪਰਸਾਦਿ ਪਰਮ ਪਦੁ ਪਾਇਆ ਸੂਕੇ ਕਾਸਟ ਹਰਿਆ ॥੧॥ ਰਹਾਉ ॥

ਜਨਨਿ ਪਿਤਾ ਲੋਕ ਸੁਤ ਬਨਿਤਾ ਕੋਇ ਨ ਕਿਸ ਕੀ ਧਰਿਆ ॥
ਸਿਰਿ ਸਿਰਿ ਰਿਜਕੁ ਸੰਬਾਹੇ ਠਾਕੁਰੁ ਕਾਹੇ ਮਨ ਭਉ ਕਰਿਆ ॥੨॥

ਊਡੇ ਊਡਿ ਆਵੈ ਸੈ ਕੋਸਾ ਤਿਸੁ ਪਾਛੈ ਬਚਰੇ ਛਰਿਆ ॥
ਤਿਨ ਕਵਣੁ ਖਲਾਵੈ ਕਵਣੁ ਚੁਗਾਵੈ ਮਨ ਮਹਿ ਸਿਮਰਨੁ ਕਰਿਆ ॥੩॥

ਸਭਿ ਨਿਧਾਨ ਦਸ ਅਸਟ ਸਿਧਾਨ ਠਾਕੁਰ ਕਰ ਤਲ ਧਰਿਆ ॥
ਜਨ ਨਾਨਕ ਬਲਿ ਬਲਿ ਸਦ ਬਲਿ ਜਾਈਐ ਤੇਰਾ ਅੰਤੁ ਨ ਪਾਰਾਵਰਿਆ ॥੪॥੫॥

4. Aape Aap Vartadaa: You Yourself Permeate

Guru Nanak first used the phrase "Aape Aap Vartadaa" Or "He himself permeates" in a couple of shabads, one in Raag Malhar
Tu Aape Aap Vartada, Aap Banat Banaii
Tudh Bin Dooja Ko Nahin, Tu Raheya Samaii

and another in Raag Gauri:
Sabh Aape Aap Vartada Aape Bharmaaya
Gur Kirpa Te Boojhiyeh Sabh Brahm Samaayaa

At the time of Guru Arjan Dev, Bhai Gurdas explained in detail what this really meant using many different examples in his second Vaar.  This vaar has 20 pauris or poems that each end with the phrase "Aape Aap Vartada".  This must have been an important topic of discussions. Perhaps a lot of questions were asked about God permeating everything.  That's why Bhai Gurdaas has given this concept so much importance.   Bhai Gurdaas's Vaar 2. 
















The Sweet Master

My master speaks sweetly
I have grown weary of testing him,
but still, he never speaks harshly.

He doesn't know bitter words
He overlooks my shortfalls
and remembers every iota of service
His inherent nature is to purify

He dwells in every heart
He's nearer than the nearest
I seek the sanctuary of this master,
the sweet one, my dear friend.

- Guru Arjan
Mith Bolra Ji Har Sajjan Swami Mora


More on Raag Suhi and this shabad: http://shabadkirtan.blogspot.com/2016/01/imbued-in-love-with-sweet-words-raag.html

Suhi Mahalla 5 Chhanth

Mith Bolara Ji Har Sajjan Swami Mora
Hau Sammal Thakki Ji
Oh Kade Na Bolai Kaura

Kaura Bol Na Jaane Pooran Bhagwane
Avgun Ko Na Chitare
Patit Paavan Har Birad Sadaye
Ik til nahi Bhanne Ghale

Ghat Ghat Vasi Sarab Nivasi
Nerai Hi Te Neraa
Nanak Daas Sadaa Sarnaagat
Har Amrit Sajjan Mera


Do you know how 'Suhaagans' remain beautiful? They accept peacefully and they speak sweetly! - Guru Nanak (Raag Sri)

Last week my maternal grandmother, Preetam Kaur, passed away, only a few months after my grandfather. Twice an immigrant, first from Pakistan to India, and then India to the US, this pink complexioned Pindi lady was full of love just like her name suggested.  Gurbani was always on her lips and deep in her heart.  She was dyed in Sehaj and Santokh in a way I have rarely seen anyone else.  You could have known her for ages or just met her, but you could not have met her without being charmed by her smile and overwhelmed by her hospitality. 

There was one quality that everyone who met her remembers her with - her sweet words.  The sweetness of the Nirvair universe had somehow condensed into her. No one ever heard anything harsh from her about anyone.  Whether they were present or not.  She would always look at the positive side of every everyone and every instance. We met her the day before she left and she was in tremendous pain, she could not speak, but she smiled when she saw Geet, my eighteen month old daughter.

4 Generations in a Picture ... 

I usually sing Gauri at the occasion of death.  This weekened, one person at her funeral mentioned that a soul like her descends to earth once in a generation.  I thought it was apt to sing Raag Suhi in this case.  Raag Suhi is named after the color "Suhaa" or red.  The word has a common origin with "Suhaag" which connotes the bliss of a bride that is in love.  Red is also the universal the color of love. This is the raag we sing when someone gets married.  The laavan are sung in this raag. It would only be apt to sing Raag Suhi to remember this pink complexioned lady imbued in love. 

This simple composition in Raag Suhi is dedicated to her sweetness ... I am sharing here the recording I did at home on the piano before singing the same shabad at the San Jose Gurdwara. Listen, enjoy, download and share with loved ones ... 



For Lyrics and Translation:

Suhi Mahalla 5 Chhanth

Mith Bolara Ji Har Sajjan Swami Mora
Hau Sammal Thakki Ji
Oh Kade Na Bolai Kaura

Kaura Bol Na Jaane Pooran Bhagwane
Avgun Ko Na Chitare
Patit Paavan Har Birad Sadaye
Ik til nahi Bhanne Ghale

Ghat Ghat Vasi Sarab Nivasi
Nerai Hi Te Neraa
Nanak Daas Sadaa Sarnaagat
Har Amrit Sajjan Mera

Singing and meditating upon on Mithbolra ji today 

ਰਾਗੁ ਸੂਹੀ ਮਹਲਾ ੫ ਛੰਤ
रागु सूही महला ५ छंत
Rāg sūhī mėhlā 5 cẖẖanṯ
Raag Soohee, Fifth Mehl, Chhant:

ੴ ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ ॥
ੴ सतिगुर प्रसादि ॥
Ik▫oaʼnkār saṯgur parsāḏ.
One Universal Creator God. By The Grace Of The True Guru:

ਮਿਠ ਬੋਲੜਾ ਜੀ ਹਰਿ ਸਜਣੁ ਸੁਆਮੀ ਮੋਰਾ ॥
मिठ बोलड़ा जी हरि सजणु सुआमी मोरा ॥
Miṯẖ bolṛā jī har sajaṇ su▫āmī morā.
My Dear Lord and Master, my Friend, speaks so sweetly.

ਹਉ ਸੰਮਲਿ ਥਕੀ ਜੀ ਓਹੁ ਕਦੇ ਨ ਬੋਲੈ ਕਉਰਾ ॥
हउ समलि थकी जी ओहु कदे न बोलै कउरा ॥
Ha▫o sammal thakī jī oh kaḏe na bolai ka▫urā.
I have grown weary of testing Him, but still, He never speaks harshly to me.

ਕਉੜਾ ਬੋਲਿ ਨ ਜਾਨੈ ਪੂਰਨ ਭਗਵਾਨੈ ਅਉਗਣੁ ਕੋ ਨ ਚਿਤਾਰੇ ॥
कउड़ा बोलि न जानै पूरन भगवानै अउगणु को न चितारे ॥
Ka▫uṛā bol na jānai pūran bẖagvānai a▫ugaṇ ko na cẖiṯāre.
He does not know any bitter words; the Perfect Lord God does not even consider my faults and demerits.

ਪਤਿਤ ਪਾਵਨੁ ਹਰਿ ਬਿਰਦੁ ਸਦਾਏ ਇਕੁ ਤਿਲੁ ਨਹੀ ਭੰਨੈ ਘਾਲੇ ॥
पतित पावनु हरि बिरदु सदाए इकु तिलु नही भंनै घाले ॥
Paṯiṯ pāvan har biraḏ saḏā▫e ik ṯil nahī bẖannai gẖāle.
It is the Lord's natural way to purify sinners; He does not overlook even an iota of service.

ਘਟ ਘਟ ਵਾਸੀ ਸਰਬ ਨਿਵਾਸੀ ਨੇਰੈ ਹੀ ਤੇ ਨੇਰਾ ॥
घट घट वासी सरब निवासी नेरै ही ते नेरा ॥
Gẖat gẖat vāsī sarab nivāsī nerai hī ṯe nerā.
He dwells in each and every heart, pervading everywhere; He is the nearest of the near.

ਨਾਨਕ ਦਾਸੁ ਸਦਾ ਸਰਣਾਗਤਿ ਹਰਿ ਅੰਮ੍ਰਿਤ ਸਜਣੁ ਮੇਰਾ ॥੧॥
नानक दासु सदा सरणागति हरि अम्रित सजणु मेरा ॥१॥
Nānak ḏās saḏā sarṇāgaṯ har amriṯ sajaṇ merā. ||1||
Slave Nanak seeks His Sanctuary forever; the Lord is my Ambrosial Friend. ||1||


Considerations in composition:


1. Mithbolra ... ji


ji is for sadh sangat, not waheguru; often added by kirtaniyas. but here the guru recorded it in bani.


2. should be sung continuous as a chhant

4. should be in raag suhi

5. should be easily followable

6. should maintain the rhymes of the bani

simran elements:

1. mithbolra
swami mora, na bolai kaura, nerai hee tay neraa, sajan meraa

2. pooran bhagvanay
kaura bol na jaanay, avgun ko no chitaray, har birad sada-ay, bhannai ghalay

3. sarab nivasee:
ghat ghat vasee, sajan suami, mithbolra ji, samal thakee ji
* tuhi tuhi


Research on Current Compositions (2008)


Other renditions of Mithbolra:
Mith Bolra in the tune of Ramiya Vasta Vaiya from Raj Kapoor.
Mishrat - Mith Bolra - Bhai Davinder Singh

Mishrat (Jaijaiwanti, Kafi) - Mith Bolra
Mishrat (Jaijaiwanti, Khamaj) - Mith Bolra - Bhai Joginder Singh Riar
Mishrat (Jaijaiwanti, Kafi, Pilu) - Mith Bolra - Bhai Niranjan Singh


Perhaps this is where it all started:

Mishrat (Kafi, Jaijaiwanti) - Mith Bolra - Bhai Dharam Singh Zakhmi
Mishrat (Kafi, Jaijaiwanti) - Mith Bolra - Bhai Joginder Singh
Dhanasri - Mith Bolra - Sant Anoop Singh
Mishrat (Bilawal, Jhinjhoti) - Mith Bolra - Bhai Harjinder Singh
Mishrat (Kafi) - Mith Bolra - Principal Dyal Singh


I quit looking for a rendition in Suhi!!!

Guru Arjan Dev ji wrote Asthpadiyan in Raag Suhi-Kafi. Suhi Kafi sounds like so ...

Suhi Kafi - Haun Na Chodon Kant Pasraa - Dr. Gurnam Singh






In a kirtan program organized last month to remember Guru Arjan Dev, the fifth guru, I was asked to sing this shabad. I have been singing the first few lines of the Sukhmani Sahib by Guru Arjan Dev, the fifth guru, since the early 90s.

It has been over 300 years since Mughal Emperor Jahangir ordered that Guru Arjan Dev be killed by extreme torture. The guru was made to sit on a metal plate and hot sheet while boiling hot sand was poured over his burnt body. After enduring five days of unrelenting torture, the Guru left for heavenly abode. Recitation the following first few lines of his masterpiece Sukhmani, written between the years 1601 and 1604AD, therefore has a special meaning to me:


ਅਸਟਪਦੀ ॥
असटपदी ॥
Asatpaḏī.
Ashtapadee:

ਸਿਮਰਉ ਸਿਮਰਿ ਸਿਮਰਿ ਸੁਖੁ ਪਾਵਉ ॥
सिमरउ सिमरि सिमरि सुखु पावउ ॥
Simra▫o simar simar sukẖ pāva▫o.
Meditate, meditate, meditate in remembrance of Him, and find peace.

ਕਲਿ ਕਲੇਸ ਤਨ ਮਾਹਿ ਮਿਟਾਵਉ ॥
कलि कलेस तन माहि मिटावउ ॥
Kal kales ṯan māhi mitāva▫o.
Worry and anguish shall be dispelled from your body.

ਸਿਮਰਉ ਜਾਸੁ ਬਿਸੁੰਭਰ ਏਕੈ ॥
सिमरउ जासु बिसु्मभर एकै ॥
Simra▫o jās bisumbẖar ekai.
Remember in praise the One who pervades the whole Universe.

ਨਾਮੁ ਜਪਤ ਅਗਨਤ ਅਨੇਕੈ ॥
नामु जपत अगनत अनेकै ॥
Nām japaṯ agnaṯ anekai.
His Name is chanted by countless people, in so many ways.

ਬੇਦ ਪੁਰਾਨ ਸਿੰਮ੍ਰਿਤਿ ਸੁਧਾਖ੍ਯ੍ਯਰ ॥
बेद पुरान सिम्रिति सुधाख्यर ॥
Beḏ purān simriṯ suḏẖākẖ▫yar.
The Vedas, the Puraanas and the Simritees, the purest of utterances,

ਕੀਨੇ ਰਾਮ ਨਾਮ ਇਕ ਆਖ੍ਯ੍ਯਰ ॥
कीने राम नाम इक आख्यर ॥
Kīne rām nām ik ākẖ▫yar.
were created from the One Word of the Name of the Lord.

ਕਿਨਕਾ ਏਕ ਜਿਸੁ ਜੀਅ ਬਸਾਵੈ ॥
किनका एक जिसु जीअ बसावै ॥
Kinkā ek jis jī▫a basāvai.
That one, in whose soul the One Lord dwells -

ਤਾ ਕੀ ਮਹਿਮਾ ਗਨੀ ਨ ਆਵੈ ॥
ता की महिमा गनी न आवै ॥
Ŧā kī mahimā ganī na āvai.
the praises of his glory cannot be recounted.

ਕਾਂਖੀ ਏਕੈ ਦਰਸ ਤੁਹਾਰੋ ॥
कांखी एकै दरस तुहारो ॥
Kāʼnkẖī ekai ḏaras ṯuhāro.
Those who yearn only for the blessing of Your Darshan -

ਨਾਨਕ ਉਨ ਸੰਗਿ ਮੋਹਿ ਉਧਾਰੋ ॥੧॥
नानक उन संगि मोहि उधारो ॥१॥
Nānak un sang mohi uḏẖāro. ||1||
Nanak: save me along with them! ||1||

The first ingredient that goes in any arrangement is the meaning. Perhaps due to several practices of singing these lines, or due to the influence of other shabads and experiences, over the years, I have slightly adopted to different arrangements of this shabad to better explain what I understand from this shabad.

I generally look for focal words in any shabad, and have found that arrangements focusing on the right focal words can help bring out the meaning of any shabad. Focal words when used effectively, can help create a singular atmosphere that can then be easily remembered with the help of raags, even while one is busy doing daily chores.

There are two key focal words in this shabad: Simro and Ekai.

With the focus on the rhyming, and the presence of 'Simro' at the beginning of the shabad, there is no doubt that that is a focal word; the earliest of my arrangements try to bring that out. However, more recently, I use a slightly diverging meaning of 'Simro' than what I have read in most translations of the Sukhmani. Now, more than ever, 'Simro,' means 'I do Simran,' and not necessarily 'Do Simran.'

To me there is no good English substitute for Simran (say Sim-Run). 'Meditation', 'remembering' and 'contemplation' are often used to describe Simran. To me, true Simran is a 'constant remembrance' of the Truth at all times. Several meditative techniques can be used to help in doing Simran; music can be used, recitation can be used, repitition of certain words can be used, kirtan can certainly be used.

The second focal word in the shabad is Ekai. This one was tougher for me to find because it did not appear conveniently in the beginning of the shabad. However, interestingly, Ekai finds itself, in some shape or form, in all lines following the first line. Also interestingly, I find that Ekai has two meanings in each line. The most obvious meaning of Ekai is as an adjective, 'One' describing Bisambhar, Akhar, Fragment, and Vision.

Ekai rhymes with 'Nameh,' the focal word in God's salutation at the begining of Sukhmani, the lines that precede this shabad. So, I believe Ekai is a key focal word in the shabad. It comes to me as no surprise that, in one of his key poetic work that took 3 years to complete, Guru Arjan Dev focuses on Ekai, very similar to the opening message of the first guru, Guru Nanak, 'Ek Omkar'!

I have narrowed down to the following meaning of this shabad:

With 'Simran', sorrows go away, and bliss is attained;
'Simran' of The ONE who is extoled by countless;
The ONE, who is the synopsis of extensive holy scriptures;
Whose ONE fragment in anyone's heart can elevate them beyond limits;
With Them, Who seek ONE glimpse of the Truth, Oh God, liberate me!


Simro Simar in Bangla Sahib:
http://www.youtube.com/watch?v=uQfx3lOgfCc Set in raag Gauri, which symbolizes the purity embodied by Shiv's wife Parvati, Sukhmani is meant to be recited in the afternoon.


Jogsuhi
Sa Ga ma Pa ni Sa., Sa. ni Dha Pa ma Ga Re Sa.
Thaat: Khamaj
Timing: 3-6PM, Anytime in the summer
Vaadi: Ga
Samvaadi: Ma
Pakad: .Pa .ni Sa Ga ma Ga, Ga ma Pa Dha ma Ga

The popular version of khamaj maintains the tension of the dominant by including a sharp 7th note (Ni shudha), and has the heavenly peaceful Ga as one of the key notes. However, if one goes to the pure mixolydian mode, the tension of the Ni shudha is removed by introducing a Ni komal that relaxes into the Sa. At the same time, you retain the effect of peace through Ga. What I have added to this is a frequent slide between ma and Ga to depict purity which is emblematic of Raag Gauri. This element reminds us of Parvati, the wife of Shiva, whose name (Gauri) and deeds (Sati) symbolize the utmost purity.

No wonder, when an atmosphere of purity, peace and relaxation is desired composers opt for this raag. According to The school of musical composition, by Adolf Bernhard Marx, the mode conveys "a desire for the infinite and exalted" because of the missing resolution of a major dominant.
  • Ghulam Ali sings Jogsuhi (says its "based on" Kalavati): http://www.youtube.com/watch?v=YvP_NnEnCgk

  • If we look at some of the Allah hoo by Nusrat Fateh Ali Khan: http://www.youtube.com/watch?v=Sg8mZqY5uzg

  • One of the evergreen songs from Hindi films sung by Lata Mangeshkar: http://www.youtube.com/watch?v=5vPLxucFm7o

  • Beatles created this effect masterfully in at least four of their hit songs: Norwegian Wood, She said she said, Taxman, and Tomorrow Never Knows.



This raag is similar but different from kalavati, khamaj, lankeshree, khambavati, Janasamohini.

  • Here's a nice kalavati rendition by Ustad Amanat Ali Khan and Noor Jahan. Notice the absence of Re and Ma, as kalavati should be. http://www.youtube.com/watch?v=9Z5VyB-3X4U

  • Not khamaj
    http://www.sawf.org/audio/khamaj/lata_vaishnava.ram

  • Not lankeshree

  • Not khambavati -- which sounds like a mix of asa in aaroh and khamaj avroh.
    Khambavati: Gur Charni Chit Laiyeh (Baba Ghulam Muhammad Chand)

  • Not Janasamohini


Mary Kathryn uses this scale a lot.
http://www.ilike.com/artist/Mary-Kathryn

Only One:
when sun is on the rise
and moon is on the low
chasing stars of night
till there is only one

only one, one

when god created man
He knew there'd be a sun (or Son!)
salvation was His plan
to make us all as one

only one, one



After having listened to more than a dozen compositions since the Hemkunt competition last week, I am still at a loss to find one bandish that has a lasting impact. The two compositions that I am posting as my favorites are really a compromise. I like Bhai Amarjit Singh's riyaaz perfected voice, however, I like Bhai Avtar Singh's composition in the following renditions:



I hope to add to this list as I get more bandishes. I have started a bandish for Guru Arjan Dev's Eko Ekankara, which I will likely take 2 or 3 years to record and publish here.

For a compilation of Suhi shabads, see my previous post, Suhi at Hemkunt Foundation Competition
This memorial day weekend I was invited to judge a kirtan competition for the Hemkunt Foundation. This is their second year this competition was conducted and that I was judging young kirtaniyas. The organizers had selected an interesting set of raags for the competition: Sarang, Suhi and Sorath. Sarang, especially Vrindavani Sarang, is not a rarity among current kirtaniyas. However, despite their simplicity and beauty, Suhi and Sorath are forgotten raags, Suhi even more than Sorath. So I decided to do some research on existing Suhi compositions.

Because the majority of existing Suhi renditions are very similar to Alhaiya Bilawal, my research also included media in that raag. The following playlist includes Suhi and Alhaiya Bilawal compositions that I collected before the competition.



If you listen to these compositions, it is clear that there are two distinct forms of Suhi sung by recent and contemporary kirtaniyas. Although both seem to originate from bilawal, the most prevalent of the two stresses the vaadi note 'Pa.' Gyani Dyal Singh and his disciple Bhai Kanwarpal Singh, stress 'Ma' as the vaadi and the effect is just not the same. Next time I see Bhai Kanwarpal Singh I will ask him about the reason for the difference; however, at this point my conclusion from the collective set of media data is that 'Pa' should be the vaadi for Suhi.

In fact, in most compositions the use of "Ga Ma Pa Ni(Komal) Dha Pa," following a rest on vaadi 'Pa' is distinct to Suhi in gurmat sangeet. This is also a distinction of Alhaiya Bilawal making these raags very similar in their feel. "Sa Re Ga Ma, Re Ga Ma Pa" with a slide from Ma to Re reminds one of Bilawal, creating a minor differentiation between Alhaiya Bilawal and Suhi.

For classical Kirtan enthusiasts I highly encourage listening to Kishori Amonkar's rendition of Alhaiya Bilawal on youtube. In Chotti Teen taal (which also appears prominently among Suhi renditions), she uses only 6 notes to define the raag in her bandish. Simplicity of the composition and clarity of meends create an extraordinary atmosphere of tranquility. Just like a masterful Suhi, which is often sung in the hot season, this rendition has a cooling influence on the mind.

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SHIVPREET SINGH

Singing oneness!
- Shivpreet Singh

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