Aas - Composition by Shivpreet Singh; Sung by Kaushiki Chakraborty
Baba Farid and Gurbani
I love the poetry of Bhagat Farid. His poems, known as Shabads, are found in the Guru Granth Sahib, the holy book of Sikhs. Some experts believe these hymns were composed by a Sufi named Farid Shakarganj from Pak Pattan, who was a follower of Qutbuddin Bakhtiyar Kaki. Others think they were written by a different Sufi from Pak Pattan, also named Farid.
Baba Farid was a special and miraculous child. His mother used to pray all day and night during her pregnancy. He was born in the sacred month of Ramzan in the year 1173. On the night of his birth, the moon was hidden behind clouds, and people didn't know when to start their fasting. A holy man came and said that if the newborn baby refused to breastfeed, then it meant the fasting had begun. And indeed, Farid didn't suckle during the day, following the Muslim fasting tradition.
As a child, Farid was named Farid-ud-Din Masaud, but he became famous as Baba Farid of Pak Pattan. His mother used to reward him with sugar hidden under his prayer carpet when he finished his prayers. One day, when she was absent, he prayed a lot and found an even greater amount of sugar. Delighted, he shared it with his friends. When he told his mother about it, she realized it was a divine gift and gave him the surname Shakar Ganj, which means "treasury of sugar."
Farid ji has been honoured by the Gurus of Sikhism and his verses were collected and subsequently compiled into the Sikh holy book, Guru Granth Sahib (normally referred to as Gurbani) under three different sections as detailed below:
First section:
The first section comprising of two shabads is in Raag Asa at page 488 of the Guru Granth Sahib. The Bani starts " ਆਸਾ ਸੇਖ ਫਰੀਦ ਜੀਉ ਕੀ ਬਾਣੀ - Āsā Sekẖ Farīḏ jī▫o kī baṇī - Aasaa, The Word Of Shaykh Fareed Jee:"
Second section:
The second section comprising of two shabads is in Raag Suhi at page 794 of the Guru Granth Sahib. The Bani starts " ਰਾਗੁ ਸੂਹੀ ਬਾਣੀ ਸੇਖ ਫਰੀਦ ਜੀ ਕੀ ॥ - Rāg sūhī baṇī Sekẖ Farīḏ jī kī. -Raag Soohee, The Word Of Shaykh Fareed Jee:"
Third section:
The third section is by far the longest section comprising about 8 pages in Raag Jaijaiwanti starting at page 1377 of Guru Granth Sahib and ending at page 1384. The Bani starts with the line: " ਸਲੋਕ ਸੇਖ ਫਰੀਦ ਕੇ - Salok Sekẖ Farīḏ ke - Shaloks Of Shaykh Fareed Jee:" This section consists of couplets which have become very famous among the followers of Babaji.
The connection of Baba Farid with Amir Khusro
After Baba Farid ji, his successor was Hazrat Nizamuddin Auliya from Badayun, Uttar Pradesh, India (1238 - 1325). Sadly, he lost his father when he was just five years old. Together with his mother, he moved to Delhi. At the age of 20, he became a devoted disciple of Baba Farid, deeply inspired by his teachings.
Nizamuddin Auliya had a strong connection with the holy shrine in Pakpattan and would visit especially during the month of Ramadan. Just before Baba Farid ji passed away, he chose Nizamuddin Auliya as his successor. However, Auliya Sahib decided to return to Delhi instead of staying in Pakpattan. He dedicated his life to serving the poor people of the region, carrying forward the message of God.
Nizamuddin Auliya gained immense popularity and had millions of followers and students. One of his most notable students was Amir Khusrow, a renowned poet and musician. Amir Khusrow is credited with introducing Qawali to Indian music for the first time. Additionally, he innovated the Tabla by modifying the South Indian drum called mridang or pakhawaj. His contributions to music are truly remarkable and have left a lasting impact on Indian musical traditions.
Someone reminded me today that it was Gurpurab (Guru Ramdas), so I was reminded of the shabad I have heard so many times, Dhan Dhan Ramdas Gur.
I checked, like I do now for every shabad when I hear it, it was written by Guru Sahib in Raag Ramkali. I made a simple Ramkali composition and recorded it so I would not forget it. Then I looked for other Ramkali compositions for this shabad, and I could not find it on youtube. If you know of a Ramkali version, I would love to here it.
I was looking for some Ramkali inspiration and I found the following acapella rendition which I found very interesting:
Whoever composed this, I would say its a very fantastic attempt. To make it more beautiful, please sit with someone who has learned and perfected the Tabla for years in the traditional Indian way (Guru Shishya Parampara). And second I would take the major mode elements out (and there aren't many, but there are some striking ones, like the descending passage on 3:05 which includes A and E, which are present in the major mode, but have no place in Ramkali). Further, if I were to do this, since this is a love song, I would soften some of the charged elements in the rendition that make it rough and tough. In that respect, there is another rendition of the same piece on the web which sounds a lot soothing.
I'll go back to singing Dhan Dhan Ramdas Gur ... but I also learned some interesting things about the composers of this Shabad and here it goes:
On Satta and Balwand
(from sikhiwiki) Rai Balvand, a rababi (rebeck player) in the time of Guru Arjan and co-composer with Satta, said to be his brother, of a Var included in the Guru Granth Sahib in the Ramkali musical measure. He was by birth a mirasi, Muslim minstrel and genealogist, and sang the sacred hymns to the accompaniment of a rebeck like Bhai Mardana played during the time of Guru Nanak. Not much authentic biographical information is available about him except that he and his brother, Bhai Satta, were contemporaries with Guru Arjan (1563 - 1606) for whom they recited sabdakirtan. According to another tradition, they started their career under Guru Angad sometime after he succeeded Guru Nanak on the latter's demise in 1539 and continued to serve the Gurus until the time of Guru Arjan.
A story is recorded that Balwand had become so proud of his musical ability that he once refused Baba Buddha's request for the recital of a sabda. He was reprimanded by the Guru and was told that he (the Guru) was within every Sikh and refusing a Sikh to recite a hymn meant refusal to the Guru himself. On another occasion, Balvand is said to have requested Guru Arjan to let him and Satta have all the offerings of the Baisakhi day of that year so as to enable them to meet the expenses of a marriage in the family. The Guru agreed. But the offerings on that day fell far short of their expectations. They asked the Guru for more which he refused.
Under the mistaken notion of their indispensability, both Satta and Balvand left the Guru, imagining that once they stopped reciting the hymns his following would dwindle. Guru Arjan sent for them, but they refused to return. When the Guru himself called on them, they spoke rudely of the House of Guru Nanak. Now discarded by the Guru, they found themselves alienated from the Sikhs. They suffered both mental anguish and fell sick with leprosy. A Sikh, named Laddha, petitioned the Guru on their behalf after rubbing his face with ashes (the Guru had threatened to have this done to anyone speaking on their behalf) and secured them forgiveness. Back in the presence of the Guru, they were cured of the disease. They then composed a Var, popularly known as Tikke di Var, in praise of the Gurus. They, perceived all the Gurus as sharing the same spirit, the same one light. Both Balwand & Satta, are said to have passed away at Lahore in the time of Guru Hargobind (1595-1644) and were buried on the bank of the River Ravi.
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.
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.
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|
One of the readers of the blog wrote to me recently about the usage of a real Tanpura versus electronic shruti boxes.
I must say having a well tuned tanpura resonating near your ear helps in recognizing and consolidating harmonies (its the same reason why avergae singers sing a lot more in tune in a 4-part choir). However, tuning, bridging and threading, apart from finger pressure and positioning, make tanpura playing an art; if you have not done it for a long time, it is not as easy to learn as it would seem. It might actually be quite cumbersome if you are in the middle of learning vocal technique.
Before buying a Tanpura try this In my opinion, if you are trying to improve your singing, the difference between a real tanpura, an electronic box, or a tanpura recording is marginal. You can make some changes like making the shruti box louder and loser to your ear when you are rehearsing. If you think these sounds are too mechanical, the better upgrade to make is using the recording of a tanpura instead of buying a tanpura and learning it, in my opinion. For your convenience, Matt Rahaim, Assistant professor of music at University of Minnesota, has provided some tanpura recordings on his website that can be used (His website: http://www.ocf.berkeley.edu/~mrahaim/):
* Some of these recordings are not in perfect intonation relative to my keyboard, and might not match with your harmoniums either. But they are fine to sing along without any instruments or alternatively you can tune your instruments to these. You can also pitch shift them with music software if you have the inclination; I do that all the time!
So what do I do? Singing takes a lot of concentration. I personally like the electronic versions of tanpuras especially for performance because of their convenience, volume control, stability of tone, and portability. However, for most classical recordings I tend to use either a real tanpura or a recording of one. Here are three recordings where I have used three different kinds: The first shabad (which was recently posted, so you might not have heard it), "Lost Time - Ab Main Kahaa Karaon Ri Mai," I use the recording of a real tanpura. In "Simro - Pearl of Bliss" I use an electronic tanpura. In "Four Blessings - Chaar Padaarath," we used a live tanpura as we recorded the shabad.
Hope this helps! I know I have other questions to respond to; am working on them!
Idea was started many years ago (guessing 2010?). Blog post was randomly read in Sep 2020 and I continued work.
I was listening to this shabad by Bhai Gurmeet Singh Shant. Seems a dhrupad in 11 matras:
It seemed easy for kids to sing (short shabad), so I was excited. But alas! the shabad was sung in Asavari instead of Raag Nat (also written as Raag Nut). I thought I could compose something for the kids to sing in Raag Nat.
So I started listening:
The first was a partaal by Dr. Gurnam Singh: Ko Hai Mero Saajan
Raag Nat seems like Raag Nand (for filmi music enthusiasts, from the famous Lata Mangeshkar song, "Tu Jahaan Jahaan Chalega") but different.
The second shabad was by Bhai Avtar Singh, a shabad that I have heard in various different raags but Nat.
Bhai Balbir Singh's 31 raag compilation does not have a shabad in Raag Nat (only in Nat Narayan)
Here is a partaal by Bhai Gurmeet Singh Shaant in Raag Nat:
Due to the obvious confusion, we will need to do more work on this raag.
Contemporary compositions:
Pandit Jasraj: (start at 42" for madhya laya composition)
This is poem about heartbreak. And not a sudden heartbreak, the more common and the more hurtful slow gradual heartbreak.
The Spring and The Fall
In the spring of the year, in the spring of the year,
I walked the road beside my dear.
The trees were black where the bark was wet.
I see them yet, in the spring of the year.
He broke me a bough of the blossoming peach
That was out of the way and hard to reach.
In the fall of the year, in the fall of the year,
I walked the road beside my dear.
The rooks went up with a raucous trill.
I hear them still, in the fall of the year.
He laughed at all I dared to praise,
And broke my heart, in little ways.
Year be springing or year be falling,
The bark will drip and the birds be calling.
There's much that's fine to see and hear
In the spring of a year, in the fall of a year.
'Tis not love's going hurt my days.
But that it went in little ways.
- Edna St. Vincent Millay
Following the posting of a new shabad in Raag Dhanasri earlier this week (Ab Main Kaun Upao Karoon), I received a couple of inquiries on how to sing Dhanasri. People often ask me about styles of singing, and especially definitions of several raags. And because I get these questions often, I think it is appropriate to put the response on the blog.
The request reminded me of my last lengthy discussion on Dhanasari -- which was memorable one. A few years ago one beautiful afternoon, after the normal Gurudwara program, I had the fortune of sitting with the gifted Bhai Gurmeet Singh Shaant and his jatha in the Norwalk Gurudwara in Connecticut, and we were sharing Dhanasari bandishes with each other; In his opinion this would be categorized as a Thumri in Dhanasari, not a Khayal, the more popular Kirtan style prevalent nowadays. The best way to learn the musical aspects of Dhanasri is to listen to accomplished musicians sing it. See the Compilation of Dhanasri Shabads for more examples of singing Dhanasri.
If I stopped here, I would be wrong.
The question is how do I know I am truly singing Dhanasri? Several musicologists will agree with the musical notes and other perfunctory intricacies, which are necessary, but still inept in creating the atmosphere of Dhanasri. I have found big and small encyclopedias of Indian classical music and Gurmat Sangeet fall short in a meaningful way. The more you sing, Dhanasri, like all raags from the Guru Granth Sahib, it becomes harder to sing. The musical rules are the first step and maybe easy for an adept musician, but that is only the tip of the iceberg; the true Dhanasri, like any true raag, has to fortify the meaning of the words we are singing. And then it has to take you beyond, to the anhat shabad. That is the purpose of any raag.
Raag Dhanasari, in my experience is the extrovert cousin of Raag Sri, although you don't ordinarily find any similarities in the notes. I have heard some experts claim that Dhanasri comes from two words: Dhan and Aishwarya, both dealing with wealth. Raag Dhanasri, as I have come to discover, has to reminds us that Sri is Dhan, that God is Great, He is the true wealth; not temporarily, incessantly so! In song Dhanasri becomes an incessant celebration of the Greatness of God! And one also has to remember that for a theist, a synonym of "God is Great" is "I am fortunate." Let me explain.
If you want to really learn what Dhanasri truly is, and why Sri is Dhan, there are no better better teacher than the Guru Granth Sahib ... than Guru Nanak, or Guru Arjan, or Guru Tegh Bahadur.
I know I am singing the Dhanasri which Guru Nanak sang when in astonishment in gazing at the stars I feel the magnanimity of our Creator who has studded the sky with stars, those innumerable candles in the platter of the sky. When I get out of my office in the late evening and open the door to smell the jasmine surrounding my office, Dhanasri plays a video of Guru Nanak's walk through sandalwoods. Dhanasri's is a melody with a persistent fragrance, a persistent reminder. And by the conclusion of Guru Nanak's Aarti the fragrant reminder lights my heart with the candle that lights everyone else.
Even if you stopped here, it is clear that there is no better way to adorn God than the sights and smells conjured by Dhanasri.
Dhanasri comes as a blessing when you feel that Guru Arjan singing with you ... a blessing by the Great one, whose power extends in all four directions, Chatur disa! The true wealth of Dhanasri does not stop at the shear magnificence of the proportion of His Creation, but it resides in the Love that He shares with insignificant beings. Even when this shabad is sung not from its rahao tuk, and not in the correct raag ... take "Jo Mange Thakur Apne te," in the famous Pahadi tune that everyone knows ... the glow of Dhanasri is resplendent in moments when God's will is so well inculcated in oneself, that one receives whatever one asks for! Whatever! Soi soi deveh!
How Great is our Creator to have created innumerable amenities, and then provided us, lowly beings with these as gifts. The candle of true love shines even for me, a nobody in stark contrast with the rest of Creation. Guru Arjan reminds me that I am quite inept ... I have only one tongue, how can I sing praises of the infinite ... kavan gun kahiye? Still You like my father take care of me.
Even Guru Tegh Bahadur reminds me of my ineptness, of my spending life on worthless pursuits in the aforementioned shabad I have grown to love - Ab Main Kaun Upao Karoon. In conclusion of "Ab Main Kaun Upao kAroon" Guru ji gives you a concise answer about Greatness and true wealth of Dhanasri: The closer I get to realizing that I cannot comprehend the awesomeness of God, the essence of Mool Mantra, even a lowly sinner like me, who is removed from pure thoughts, pure words, and pure action, can be saved by His mercy!
That is His awesomeness -- His powers are Great, qualities innumerable, nevertheless He is merciful and unconditionally loves me like my father. That is why Sri is Dhan, and thats what we celebrate in Dhanasri.
Following are English translations of Dhanasri shabads that have helped me in thus defining Dhanasri:
Guru Nanak's Dhanasri: Aarti - Gagan Main Thaal Rav Chand Deepak In the bowl of the sky, the sun and moon are the lamps; the stars in the constellations are the pearls. The fragrance of sandalwood is the incense, the wind is the fan, and all the vegetation are flowers in offering to You, O Luminous Lord. 1
What a beautiful lamp-lit worship service this is! O Destroyer of fear, this is Your Aartee, Your worship service. The sound current of the Shabad is the sounding of the temple drums. 1Pause
Thousands are Your eyes, and yet You have no eyes. Thousands are Your forms, and yet You have not even one form. Thousands are Your lotus feet, and yet You have no feet. Without a nose, thousands are Your noses. I am enchanted with Your play! 2
The Divine Light is within everyone; You are that Light. Yours is that Light which shines within everyone. By the Guru's Teachings, this Divine Light is revealed. That which pleases the Lord is the true worship service. 3
My soul is enticed by the honey-sweet lotus feet of the Lord; night and day, I thirst for them. Bless Nanak, the thirsty song-bird, with the water of Your Mercy, that he may come to dwell in Your Name. 4179
Guru Arjan's Dhanasri : Jo Mange Thakur Apne Tay (Har Jan Rakhey Gur Gobind)
He has extended His power in all four directions, and placed His hand upon my head. Gazing upon me with his Eye of Mercy, He has dispelled the pains of His slave. 1
The Guru, the Lord of the Universe, has saved the Lord's humble servant. Hugging me close in His embrace, the merciful, forgiving Lord has erased all my sins. Pause
Whatever I ask for from my Lord and Master, he gives that to me. Whatever the Lord's slave Nanak utters with his mouth, proves to be true, here and hereafter.
He has extended His power in all four directions, and placed His hand upon my head. Gazing upon me with his Eye of Mercy, He has dispelled the pains of His slave.
Another one of Guru Arjan's Raag Dhanasri: Jehwa Ek Kavan Gun Kahiye
You are the Giver, O Lord, O Cherisher, my Master, my Husband Lord. Each and every moment, You cherish and nurture me; I am Your child, and I rely upon You alone. 1
I have only one tongue - which of Your Glorious Virtues can I describe? Unlimited, infinite Lord and Master - no one knows Your limits. 1Pause
You destroy millions of my sins, and teach me in so many ways. I am so ignorant - I understand nothing at all. Please honor Your innate nature, and save me! 2
I seek Your Sanctuary - You are my only hope. You are my companion, and my best friend. Save me, O Merciful Saviour Lord; Nanak is the slave of Your home. 312
Guru Tegh Bahadur's Dhanasri Ab Main Kaun Upao Karoon Now, what efforts should I make? How can I dispel the anxieties of my mind? How can I cross over the terrifying world-ocean? 1Pause
Obtaining this human incarnation, I have done no good deeds; this makes me very afraid! In thought, word and deed, I have not sung the Lord's Praises; this thought worries my mind. 1
I listened to the Guru's Teachings, but spiritual wisdom did not well up within me; like a beast, I fill my belly. Says Nanak, O God, please confirm Your Law of Grace; for only then can I, the sinner, be saved.
Following is a recording of Guru Tegh Bahadur's shabad "Ab Main Kaun Upao Karoon" that I recently finished mastering. The original recording was made in 1999. This is the first of six shabads I collaborated with Pandit Rajendra Prasanna, an eminent classical musician from Delhi. The shabad is sung in Raag Dhanasri, and a downloadable version of this shabad, like others, is available on Reverbnation. Hopefully I will post some more shabads from that collaboration, and from others that I currently am in.
Aug 2015 Update - This recording was published after 16 years of lying dormant:
Singing oneness!
