They called in the automobile ... the key to my freedom! Blues in country!
The oldest holocaust survivor in the world, at the age of 107 Alice Herz-Sommer still plays the piano every day. "When we laugh what happens in our body, physically, it's beautiful!" Herz-Sommer attributes her longevity to her optimism.
"Worst thing in lives is boredom. The best thing in life is a laugh"
"Worst thing in lives is boredom. The best thing in life is a laugh"
Sean Berry in the UK for reminding me of one of my favorite songs ... that some of the most popular songs of the last few decades, reminds us of our commonalities, and therefore our common father. Thanks Sean,
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.
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.
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|
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.
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|
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/):
A sa-pa - safed che
B sa-ma - safed sat
C# sa-pa - pehla kaalaa
D sa-pa - safed do
D sa-ma - safed do
D# Sa-Pa - doosraa kaalaa
* 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!
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/):
A sa-pa - safed che
B sa-ma - safed sat
C# sa-pa - pehla kaalaa
D sa-pa - safed do
D sa-ma - safed do
D# Sa-Pa - doosraa kaalaa
* 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:
ਨਟ ਮਹਲਾ ੫ ॥
ਹਉ ਵਾਰਿ ਵਾਰਿ ਜਾਉ ਗੁਰ ਗੋਪਾਲ ॥੧॥ ਰਹਾਉ ॥
ਮੋਹਿ ਨਿਰਗੁਨ ਤੁਮ ਪੂਰਨ ਦਾਤੇ ਦੀਨਾ ਨਾਥ ਦਇਆਲ ॥੧॥
ਊਠਤ ਬੈਠਤ ਸੋਵਤ ਜਾਗਤ ਜੀਅ ਪ੍ਰਾਨ ਧਨ ਮਾਲ ॥੨॥
ਦਰਸਨ ਪਿਆਸ ਬਹੁਤੁ ਮਨਿ ਮੇਰੈ ਨਾਨਕ ਦਰਸ ਨਿਹਾਲ ॥੩॥੮॥੯॥
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:
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)
http://www.musicindiaonline.com/p/x/FUXhVP52Y9.As1NMvHdW/
http://www.esnips.com/doc/24dc50c5-b42f-46ff-98a6-ebcbe83adf7d/Raga-Shuddha-Nat---Pandit-Omkarnath-Thakur
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:
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)
http://www.musicindiaonline.com/p/x/FUXhVP52Y9.As1NMvHdW/
http://www.esnips.com/doc/24dc50c5-b42f-46ff-98a6-ebcbe83adf7d/Raga-Shuddha-Nat---Pandit-Omkarnath-Thakur
Shudha Nat Listening:
SHIVPREET SINGH
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