Shivpreet Singh

Pictures from the recent earthquake in Haiti have been heartbreaking. I saw some different kinds of pictures from Haiti today. These were heart warming pictures. Those of of Sikhs embracing Haitians, Sikhs serving hot food to people in Haiti. I was ecstatically surprised, and filled with pleasure and pride seeing the following: United Sikhs Haiti News. And the scale is fantastic -- the United Sikhs is serving langar to 5000 needy people in Haiti. Kudos!

In times of fantastic ecstasy like this I am reminded of a raag that I was introduced to very early: Raag Malkauns. A couple of classics that defined Malkauns to me include Mohd. Rafi's Man Tarpat Hari Darshan Ko Aaj. and Bismillah Khan's Malkauns on Shehnai, a ubiquitous teen taal gat heard often in the background in old hindi film marriage scenes. In the raagmala paintings depicting Malkauns (on the left), Shri Malav (Gandharva king) enjoys all the pleasures of his golden seat, relaxes while a maid fans him, and consumes a flavorful paan. An enjoyable experience I am sure.

It is well known that Guru Gobind Singh ji was an accomplished musician. Although the Malkauns vaar has been deleted from the Dasam Granth, and the only place it occurs in the Guru Granth Sahib is the raagmala, it is widely believed by musicians that Guru Gobind Singh used to sing Malkauns himself. Several musicians use Malkauns to compose Dasam Granth compositions. It seems apt, therefore, on the occasion of the celebration of Guru Gobind Singh ji's birthday last month, four shabads were sung in Malkauns: (Gurmat Sangeet Darbar, Dec 19, 2009). My favorite renditions in this program are So Dar Keha by Guneet Kaur ji in Jhap taal and Jai Jai Jag Kaaran by Bhai Davinder Pratap Singh in Ek taal.

In "So Dar Keha" Guru Nanak Dev ji asks (Pauri 27 of Jap ji), "What is that Place like, what is the House like, where that Lord resides? (And where) numerous Sound-currents vibrate simultaneously? And where musicians sing many melodious Raagas?" For me, today that place is Haiti where United Sikhs are serving langar sharing the luxury of hot food that king Malav would have also enjoyed on his golden seat. I still hope they have some divine singers like Guneet Kaur singing So Dar; if not, I hope they have some audio equipment playing kirtan when the langar is served. That Malkauns would be divine.

For those interested in donations to United Sikhs, please go to: http://www.unitedsikhs.org/donate.php

[Updated 2018 - For 2011 see below]

Next year in November, it will be the 550th birth anniversary of Guru Nanak, the illumined soul of my music and life. I am hearing of plans of celebrations all over the world ... But why wait until next year? Why not have a year long musical celebration??? I am diving right in, right now!!!

This week, I start with a beautiful poem by Bhai Gurdas, "Kal Taaran Gur Nanak Aaya" in Raag Bageshri. I have been singing this since the 1990s, and I had recorded this first in 2009. I re-recorded this in the past few days. There will be a lot more in the coming weeks ...

Thanks to Simer Chabbra for the Happy Gurpurab cover art.

Lyrics and Translation -

ਸੁਣੀ ਪੁਕਾਰਿ ਦਾਤਾਰ ਪ੍ਰਭੁ ਗੁਰੁ ਨਾਨਕ ਜਗ ਮਾਹਿ ਪਠਾਇਆ
Sunee Pukaari Daatar Prabhu Guru Naanak Jag Maahi Pathhaaiaa
The benefactor Lord listened to the cries (of humanity) and sent Guru Nanak to this world.

ਚਰਨ ਧੋਇ ਰਹਰਾਸਿ ਕਰਿ ਚਰਣਾਮ੍ਰਿਤੁ ਸਿਖਾਂ ਪੀਲਾਇਆ

Charan Dhoi Raharaasi Kari Charanamritu Sikhaan Peelaaiaa

He washed His feet, eulogised God and got his Disciples drink the ambrosia of his feet.

ਪਾਰਬ੍ਰਹਮ ਪੂਰਨ ਬ੍ਰਹਮ ਕਲਿਜੁਗ ਅੰਦਰਿ ਇਕ ਦਿਖਾਇਆ

Paarabrahamu Pooran Brahamu Kalijugi Andari Iku Dikhaaiaa

He preached in this darkage (kaliyug) that, saragun (Brahm) and nirgun (Parbrahm) are the same and identical.

ਚਾਰੇ ਪੈਰ ਧਰਮ ਦੇ ਚਾਰਿ ਵਰਨ ਇਕ ਵਰਨੁ ਕਰਾਇਆ

Chaaray Pair Dharam Day Chaari Varani Iku Varanu Karaaiaa

Dharma was now established on its four feet and all the four castes (through fraternal feeling) were converted into one caste (of humanity).

ਰਾਣਾ ਰੰਕ ਬਰਾਬਰੀ ਪੈਰੀ ਪਵਣਾ ਜਗਿ ਵਰਤਾਇਆ

Raanaa Ranku Baraabaree Pairee Paavanaa Jagi Varataaiaa

Equating the poor with the prince, he spread the etiquette of humbly touching the feet.

ਉਲਟਾ ਖੇਲੁ ਪਿਰੰਮ ਦਾ ਪੈਰਾ ਉਪਰਿ ਸੀਸੁ ਨਿਵਾਇਆ

Ulataa Khaylu Piranm Daa Pairaa Upari Seesu Nivaaiaa

Inverse is the game of the beloved; he got the egotist high heads bowed to feet.

ਕਲਿਜੁਗ ਬਾਬੇ ਤਾਰਿਆ ਸਤਿਨਾਮੁ ਪੜ੍ਹਿ ਮੰਤ੍ਰ ਸੁਣਾਇਆ

Kalijugu Baabay Taariaa Satinaamu Parhhi Mantr Sunaaiaa

Baba Nanak rescued this dark age (kaliyug) and recited ‘satinam’ mantr for one and all.

ਕਲਿ ਤਾਰਣ ਗੁਰੁ ਨਾਨਕ ਆਇਆ ॥੨੩॥

Kali Taarani Guru Naanaku Aaiaa ||23 ||

Guru Nanak came to redeem the kaliyug.

[from 2011]

"Guru Nanak" in Raag Bageshri:

Happy Gurpurab folks!!! I have been singing Bhai Gurdas' Vaar Kal Taaran Guru Nanak Aaya in Bageshree since the mid-90s. This weekend I made a recording of this shabad mixing in a country ballad style. Following is a copy of yesterday's recording. Feel free to listen, download, and pass along to friends and family.

Feb 16, 2011 Update
Here is my interpretation of this Vaar:

How fortunate am I
The supreme giver
has infinite mercy upon me
and sent for me none other
than my dear Guru Nanak
to be my guide

My Guru travels far
and learns from the learned
He is the wisest I've know
still he meets everyone
with a peculiar humility
strange to our world
How fortunate am I

And he teaches me
the way to learn by example
He travels many million miles.
And when his feet are washed
Particles of his noble ways
make sweet ambrosial nectar
a drop of which I get to drink
How fortunate am I

With that luminious drop
all fog starts to disappear
Himself my dear Guru shows me
there is no difference betwee
one who knows everything
and the mysterious one
that no one can fully fathom
How fortunate am I

This world of ours has
those of different religions
those of disparate social strata
some rich live the lives of king
others, paupers, just survive
they have all, in one drop.,
through his blessed vision
become ONE for me
How fortunate am I

At times when
everything looks dark
he lights my path
with the torch of the
mantra of truth, Satnam!
My dear Guru Nanank
has removed my darkness
How fortunate am I
How fortunate am I

Nov 25 Update:
Based on a request in the comments area, following is the notation for one of the guitar parts -- the actual notation is tough to read and play -- but this is a simplified version that works as well. Every two bars is one line of the shabad as follows:

Kal taaran Guru Nanak aayaa - 4
Suni Pukaar Dataar Prabh - 2
Guru Nanak Jag Mahe Pathayaa - 2
Charan Dhoye Rehraas Kar - 2
Charanaamrit Sikhaan Pilayaa - 2
(Rest of the verses repeats similarly)

On several previous occasions I have heard US presidents, including Presidents Bush and Clinton, give warm greetings on the birthday of Guru Nanak. This year, President Obama message on Diwali included a mention of Guru Hargobind Sahib and Bandi Chhorh Diwas:

Then we have the age old discussion whether Diwali is for Sikhs or not. Although most of the discussion around this topic is not worth spending time on, in my opinion, I did find an interesting article on sikhphilosophy.net of which at least one idea I wholeheartedly empathize with, and that is the first line of a shabad should not, in most circumstances be used as a refrain and sung repeatedly because it tends to change the central purpose of the shabad.

The author in the article gives us an example "ON DIWALI DAY Programmes at the Gurdwara I have often heard Raagis singing this shabad from Bhai gurdass Ji di Vaar -Diwali kee raat deeweh ballian ..." For more see http://www.sikhphilosophy.net/sikh-sikhi-sikhism/1008-diwali-ki-raat-deeweh-ballian-diwali.html

For this reason, I think it is incumbent upon us, those who sing Gurbani, and even more so for composers who have the privilege of arranging music to support Gurbani, to keep the central meaning of the shabad in mind while choosing refrains and doing the whole composition.

Popular compositions for beautiful shabads like Jo Maange Thakur, Paati Torai Maalini, Bhoolai Maarag Jineh Bataaya, and Lakh Khushian Patshaiyan use the wrong refrain -- the first line of the shabad. Incorrect repitition provides incorrect emphasis and tends to make us forget key words from the rahao which are closer to the central meaning of these shabads: Har jan raakhai, Bhooli Maalini, Simar manaa raam naam, and Ekas syon chit laye, respectively.

In the past few years this has been one of the leading guiding principles for Gurbani music composition (even ahead of nirdharit raag compositions). I have myself sung all these shabads using the wrong refrain; and now I have started singing all these shabads using refrains prescribed in the Guru Granth Sahib. And I have learned that the beauty of these shabads is far beyond than what I have been able to enjoy.

For this reason, even though the following rendition of Simar Manaa is not in Bilawal, I prefer the following composition over the next one by Bhai Harjinder Singh (Srinagar wale):

Simar Manaa:

Lakh Khushiyan:

SHIVPREET SINGH

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