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Classics of Sikh Sacred Music - Asa Di Var

Classics of Sikh Sacred Music

Asa Di Var

Swarleen Kaur

Gracious Books

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© Swarleen Kaur

Gurmat Sangit House 2017 - Urban Estate, Phase I. Patiala, 147002

Classics of Sikh Sacred Music Asa Di Var

by

Swarleen Kaur

ISBN: 978-93-85670-04-6 Year - 2015

Price : 300/- $ 20

First Edition 1100

Published By

Gracious Books

23 Shalimar Plaza Opp. Punjabi University, Patiala. (Punjab) India.

Ph-9815616558, 0175-5007643, 5017642

www.graciousbooks.in [email protected]

Printed At : Anand Sons, New Delhi.

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Dedication

The Sikh sacred music is designed, propagated and traditionalized by the Sikh Gurus. Although the tradi-tion is in vague since five centuries But its worldwide reorganization, at academics level, as Gurmat Sangit got new facet, with the unending efforts and foresightedness of Dr. Gurnam Singh Ji, the founder of Gurmat Sangit project, Punjabi University, Patiala.

He is a man with the mission Gurmat Sangit. The introduction of the tradition of Shabad Kirtan, from school & college to University research level, could be materialized due to his efforts.

Due to his mission Gurmat Sangit, now Punjab, Punjabi and Guru Nanak Dev Universities, have introduced Gurmat Sangit, as an aca-demic stream or a part of music.

He did a lot to promote the tradition, not only in India, But world-wide. I got the idea to work for non-Indian, non-Sikh, students to get them relish spiritual melodies of Gurmat Sangit, in their own format and language.

I owe and dedicate my work the legendary genius Sikh Scholar of the century, wholeheartedly. Akal-purakh Waheguru May shower All His Choosiest Blessings to Dr. Gunam Singh Ji.

Swarleen Kaur

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Rags Used for 22 Vars (Balads) in Sri Guru Granth Sahib - 31

Hynms of Asa Di Var (24 Units) - 39

Har Anmrit Bhinne Lo-ena Man Prem Ratanna Ram Raje - 63

Apinai Ap Sajeo Apinai Racheo Nao - 65

Har Prem Bani Man Mare-a Ani-ale Ani-a Ram Raje - 66

Nanak Jia Upa-e Kai Likh Navai Dharam Bahale-a - 67

Ham Murakh Mugadh Sarnagati Mil Govind Ranga Ram Raje - 68

Apinai Bhog Bhog Kai Ho-e Bhasmar Bhaur Sidha-e-a - 69

Din Dae-al Sun Benti Har Prabh Har Ra-ia Ram Raje - 70

Nadar Kare Je Apni Ta Nadari Satgur Pa-ia - 71

Gurmukh Dhund Dhudedi-a Har Sajan Ladha Ram Raje - 72

Nao Tera Nirankar Hai Na-e Lai-ai Narak Na Ja-i-ai - 73

Panth Dasava Nit Khari Mundh Joban Bali Ram Raje - 74

Bin Satgur Kinai Na Paio Bin Satgur Kinai Na Pa-ia - 76

Gurmukh Pi-are A-e Mil Mai Chiri Wichhunne Ram Raje - 77

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Sev Kiti Santokhi-i Jinhi Sacho Sach Dhi-a-ia - 78

Gur Anmrit Bhinni Dehuri Anmrit Burky Ram Raje - 79

Sacha Sahib Ek Tun Jin Sacho Sach Warta-ia - 81

Har Anmrit Bhagat Bhandar Hai Gur Satgur Pase Ram Raje - 82

Bhagat T erai Man Bhavde D ar Sohan Kirat Gavde - 85

Sach Sahu Hamara Tu Dhani Sabh Jagat Vanjara Ram Raje - 86

Dan Mahinda Tali Khak Je Milai Ta Mastak Laiai - 88

Ham Ki-a Gun Tere Vithrah Suami Tun Apar Aparo Ram Raje - 89

Dhur Karam Jina Kao Tudh Pa-ia Ta Tini Khasam Dhi-a-ia - 90

Jio Bhavai Tio Rakh Lai Ham Saran Prabh A-e Ram Raje - 91

Pari-a Hovai Gunahgar Ta Omi Sadh Na Mari-ai - 94

Jin Mastak Dhur Har Likhi-a Tina Satgur Mili-a Ram Raje - 95

Satgur Vituh Vari-a Jit Mili-ai Khasam Samali-a - 96

Jini Aisa Har Nam Na Chetio Se Kahe Jag Aye Ram Raje - 98

Kapar Rup Suhavan a Chhad Duni-a And ar Javna - 100

Tu Har Tera Sabh Ko Sabh T udh Upa-e Ram Raje - 102

Sahib Ho-e Da-ial Kirpa Kare Ta Sa-i Kar Kara-esi - 104

Ko-i Gavai Ragi Nad i Bedi Bahu Bhant Kar Nahi Har Har Bhijai Ram Raje - 106

Chitai Andar Sabh Ko Vekh Nadari Heth Chala-eda - 108

Jin Antar Har Har Prit Hai Te Jan Sughar Si-ane Ram Raje - 110

Ture Plane Paon Weg Har Rangi Haram Savari-a - 112

Jithai Ja-e Bahai Mera Satguru So Than Suhava Ram Raje - 114

Satgur Wada Kar Salahi-ai Jis Wich Wadi-a Wadia-i-a - 116

Gursikha Man Har Prit Hai Har Nam Har Teri Ram Raje - 117

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Sabh Ko Akhai Apana Jis Nahi So Chun Kadi-ai - 118

Gursikhan Man Wadha-i-a Jin Mera Satgur Ditha Ram Raje - 96

Ape Hi Karana Kio Kal Ape Hi Te Dhari-ai - 97

Jinha Bheti-a Mera Pura Sat guru T in Har Nam D riravai Ram Raje - 99

Jit Sevi-ai Sukh Pa-i-ai So Sahib Sada Samali-ai - 100

Jini Gurmukh Nam D hia-ia Tina Fir Bighan Na Ho-i Ram Raje - 102

Chakar Lagai Chakari Je Chalai Khasmai Bha-e - 105

Jin Antar Har Har Prit Hai Te Jan Sughar Si-ane Ram Raje - 107

Nanak Ant Na Japnhi Har Ta Ke Paravar - 109

Har Jug Jug Bhagat Upa-ia Paij Rakhda A-ia Ram Raje - 110

Wade Ki-a Wadia-i-a Kichh Kahana Kahan Na Ja-e - 112

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Preface The Sikh Sacred music is a musicological system designed, developed

and propagated by Guru Nanakdev Ji, the founder of Sikhism. Practical performances of the tradition can be witnessed at Sri Harimandar Sahib, The Golden Temple, Amritsar. At present, this is known as Gurmat Sangit.

Guru Nanakdev Ji, First Sikh Guru used music elements as primary tool to convey ‘Dhur Ki Bani’, the Divine Words. It is known as Gurbani, the voice of the Guru, the Guide to communion with Akal-purakh, the All Mighty. The musicology emerging from headings, references and digit script of Gurbani is called Gurmat Sangit.

At present Sikh sacred scripture, Sri Guru Granth Sahib, is wor-shiped, as living Guru. The sacred scripture was edited by the fifth Sikh Guru Arjandev Ji, by collecting and publishing Shabadas (hymns) of his processors, in 1606 AC, at Shri Harimandar Sahib, Golden Temple Amrit-sar.

Sri Guru Granth Sahib is not only religious scripture of the Sikhs. It contains prosodic compositions of contemporary and predecessor schol-ars and social reformers, from different ways of life. The contributors include on Six Sikh Gurus & 4 Gursikhs (the devotees of Sikhs Gurus) whereas 11 Bhatas, 15 Bhagatas from different caste, creeds, areas and streams.

Guru Nanakdev Ji addressed the Sangat (congregation), using local dialect, language, music and prosodic forms, to enhance the effect of Gurbani with the use of classical & folk melodies. As evident from the Index (Tatakara). The Bani scripted therein Sri Guru Granth Sahib is classified into 31 ragas, known as Mukh rags of the Granth. The rag forms/shades (Prakars) also, placed under some rags used in Sri Guru Granth Sahib. The tradition of Gurmat Sangit well equipped with its spe-cially designed & formatted singing styles and forms. It is a blend of clas-sical and folk singing styles.

Sikh religion developed and flourished in Punjab. The Sikh Gurus preferred to chose rags, singing styles, instruments from the folklore of the area. These are adopted in Gurmat Sangit tradition with some modi-fications suitable to religious canvas and communion with Akal-purakh. These elements are being used in the traditionally since five centuries, to

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convey Divine words, Gurbani hymns, to congregation.

Singing hymns of Sri Guru Granth Sahib is known as Shabad Kirtan and it has become inseparable part of Sikh way of life. Classical singing styles includes Pade, Ashtpadi, Partal etc. According to musicology of Sri Guru Granth Sahib, these compositions should be sung in Dhru-pad manner. The folk singing styles of Sri Guru Granth Sahib are also an in-tegral part of Shabad Kirtan tradition of Gurmat Sangit. These include Var, chant, Paihre, Sodar, Patti, Barah-Mah, Arti, Kuchajji/Suchjji, Thitti, So-hale, Allahunian, Ghorhian, Wanjara, Karhale, Anjali, Bavan-Akhri, Din-Rain etc.

Var is a poetical narration of a story, divided into short stanzas. It is a

traditional poetic style, of unknown authorship, having passed on orally

from one generation to the next. Asa Di Var is an important and most

recited Bani of Sri Guru Granth Sahib Ji. Asa Di Var is conceived as a com-

bination of three words, Asa means hope, Di is used as conjunctive with

the meaning ‘of’, Var is and ode or lyrical verse/prose of folk tradition.

Asa is also a rag, extracted from the folk tradition of Punjab.

Asa Di Var is considered Ballad of Hope, by the devotees of Sikh reli-

gion. There is a belief that the listening or singing of Asa Di Var, whole

heartily, fulfills wishes and hopes of a real devotee.

Var is used to instill martial spirit in the marshal armies, going to

battle to destroy the enemies. But Asa Di Var describes to fight with the

enemies active in our behavior. It deals with the procedure to disband

bad habits, and shows us the track to make ourselves pious to able to get

communion with the Akal-purakh.

The Dhuni headings are providing special features to singing of the

ballad, the Var. These are extracted from heroic deeds of the warriors of

Northern India. These folk tunes are providing basis to singing of Vars

but also a valuable treasure for Indian music tradition. These headings

shows the origin of rags related to these Dhunis. It also advocates the

central role of music tradition of Punjab in Hindustani music system.

Prescribed Dhunis in combination with prescribed rags, establish peculi-

ar folk singing style of Gurmat Sangit. It is evident from the above articu-

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lation that Sri guru Granth Sahib has a great importance in music, But

not properly evaluated by the scholars and musicologists working in the

Indian music stream. The untiring efforts of Dr. Gurnam Singh are lauda-

ble to propagate the tradition of Gurmat Sangit worldwide in its true

spirit and shape.

It is my humble effort to present the musicological system of Asa Di

Var to the non Punjabi aspirants and researchers of Indian music tradi-

tion and Sikh Sacred Music.

The 24 units of Asa Di Var are compiled in dual notation system us-

ing G-Sangit and Staff notation systems along with the Gurbani Text,

Tran-scripted using diacritics, enable the readers, to pronounce in a tra-

ditional essence of Gurbani recitation.

The Kirtankars are instructed to sing Asa Di Var on the tune of

‘Tunde Asraje Ki Dhuni’. There is an historic event, related to this tune.

The term Tunda is used for hand amputee. The king of Asraj (the state of

As) was amputee from his hands on the his father, the king of the state.

The deeds and ode of Tunda Asraj were sung as bards in the typical fash-

ion of his time. Later on Sikh Gurus adopted the tune to recite Asa Di Var.

Asa Di Var is one of the basic sacred compositions of Sri Guru Granth

Sahib. It is sung in the morning congregations in Gurdwaras, all over the

world.

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VOWEL & PHONETICS COMPATIBILITY IN PUNJABI, ENGLISH AND HINDI

A a A s s s

Aw a Aw h h h

ie i e k k k

eI i e_ K kh K

au u a g g g

aU u ‚ G gh G

ey e E | n |

AY ai Ey c ch c

E o Ao C chh C

AO au AO j j j

N jW M n < J jh J

\ n \

t t t q t q

T th T Q th Q

f d f d d d

F dh F D dh D

x n x n n n

p p p X y X

P ph P r r r

b b b l l l

B bh B v v v

m m m V r V

VH rh Vh z z jŒ

S sh S ^ kh KŒ

Z g gŒ & f PŒ

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MUSIC NOTES COMPATIBILITY IN PUNJABI, ENGLISH AND HINDI

sw S sw sW S sW

ryu r ryu ryuN r ryu<

ry R ry ryN R ry<

gu g gu guN g gu<

g G g gN G g<

m M m mN M m<

m m m mN m m<

p P p pN P p<

Du d Du DuN d Du<

D D D DN D D<

nuI n nuI nuIN n nŒuI<

nI N nI nIN N nI

nŒ uI n nŒuI D u d DŒu

nŒI N nŒI D D DŒ

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Gurmat Sangit : An Introduction The Sikh Sacred music, known as Gurmat Sangit, is designed & prop-

agated by Guru Nanakdev Ji. He used music as primary tool to convey ‘Dhur Ki Bani’, the Divine Words. It is known as Gurbani, the voice of the Guru, the Guide to communion with Akal-purakh, the All Mighty. The musicological emerging from headings, references and digit script of Gurbani is Gurmat Sangit.

At present Sikh sacred scripture, Sri Guru Granth Sahib, is wor-shiped, as living Guru. The sacred scripture was edited by the fifth Sikh Guru Arjandev Ji, by collecting and publishing Shabadas (hymns) of his processors, in 1606 AC, at Shri Harimandar Sahib, Golden Temple Amrit-sar.

Sri Guru Granth Sahib is not only religious scripture of the Sikhs. It contains prosodic compositions of contemporary and predecessor schol-ars and social reformers, from different ways of life. The contributors include on Six Sikh Gurus & 4 Gursikhs (the devotees of Sikhs Gurus) whereas 11 Bhatas, 15 Bhagatas from different caste, creeds, areas and streams.

Prominent Bani contributors of Sri Guru Granth Sahib include Guru Nanakdev Ji (1469-1539), Guru Angad Dev Ji (1504-1552), Guru Am-ardas Ji (1479-1574), Guru Ramdas Ji (1534-1581), Guru Arjandev Ji (1563-1606), Guru Tegbahadar Ji (1621-1675). Other Banikars are Bha-gat Jaidev (1171-1204) a revolutionary poet of Bengal, born in Kenduli, Sheikh Farid (1175-1265) a Muslim Sufi Fakir of Kothiwal (Pak Pattan), Bhagat Trilochan (1267-1335) a Brahman of Barsi district Sholapur (Maharashtra), Bhagat Namdev (1270-1350) of Maharashtra, Bhagat Ramanand (1366-1467) a Brahman, follower of Nirguna cult born at Prayag, Bhagat Kabir (1389-1495) a believer of Nirguna Bhagti move-ment, resident of Banaras, Bhagat Sain (1390-1440) a Barber, born in Bandhav Garg, of Riva district, Bhagat Beni (14th Century), Bhagat Pipa (1480-1568) a disciple of Swami Ramanand, resident of Mewar, Gagraon, district Jalawar of Rajasthan, Bhagat Bhikhan (1480-1573) Lucknow, Bhagat Dhanna (15th Century) from Jatt family a resident of Tak area district Dhuan of Rajasthan Birbhumi, Bhagat Ravidas (15th Century) a cobbler of Banaras, Bhagat Sadhna (15th Century) a butcher by occupation born in Sehwan (Hyderabad), Bhagat Parmanand (15th Century) a Vaishnav Brahman born in Barsi, district Sholapur, Bhagat Surdas (16th Century) a Brahman of Brij.

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Importance of Raga in Sri Guru Granth Sahib: Rag is basic element of Gurmat Sangit. Singing Styles of the traditions are governed by the head-ing scripted therein Sri Guru Granth Sahib. Nature of rag is defined and explained in Gurbani through various references given by the Banikars of the religious scripture.

- Sabna Ragan Vich So Bhala Bha-i Jit Vasya Man Aye.

Guru Ramdas Ji, the fourth Sikh Guru.

(Sri Guru Granth Sahib, Page 1423)

Only those rags can be considered sublime melodies, which are working as a tool to fill our heart & mind with the belongingness of Akal-purakh.

- Dhann Su Rag Surangre Alapat Sabh Tikh Jaye.

Guru Arjandev Ji, the fifth Sikh Guru.

(Sri Guru Granth Sahib, Page 958)

These melodies are blissful, which free us from worldly worries, losses and gains. There are 31 Mukh (main/shudha) rags prescribed in Sri Guru Granth Sahib. Apart from these 31 Mukh rags, there are 31 rag Prakars emerged under mukh rags. These rags provide musicological base to Gurmat Sangit tradition.

Various indicators, available in the form of references, prescribed digits suggests the style and form of singing hymns. Traditional percus-sion & string instruments are used for performances of Gurmat Sangit. Percussion instruments for classical singing styles include Jorhi, Pakha-waj, Tabla etc. The String instruments are Rabab, Saranda, Taus, Dilruba, Israj, Tanpura, etc.

Classification of Rags : The rags used in Sri Guru Granth Sahib can be classified as Shudha rags (Mukh rags), Chhayalag rags (rag Prakars) formed with the combination of two rags, Sankiran rag (rag Gauri Purbi Dipki) combination of more than two rags.

Rags of Classical and Folk Origin : The two main streams of these rags originate from Classical and Folk tradition of Indian music as Sanatni and Desi rags. Siri, Gauri, Jaitsri, Bilaval, Ramkali, Bhairon, Kanra, Kalian are from sanatni tradition and Asa, Majh, Gujri etc. are from folk tradi-tion.

Rags of South Indian Music : The rags from Southern Indian music system have also been prescribed in the Bani of Guru Nanakdev Ji, as Gauri Dakhni, Wadhans, Dakhni, Maru Dakhni, Bilaval Dakhni, Ramkali Dakhni and Prabhati Dakhni.

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Seasonal Rags: Besides these, some seasonal rags like Malar and Basant have also been prescribed in the Bani are related to rainy and spring seasons with spiritual thoughts.

Rags bestowed by Gurmat Sangit : Some rags / melodies are be-stowed by Gurmat Sangit to Indian rag tradition. The Sangit Granthas

and other historical sources of Indian music could not have proper men-tioning of the role of Gurmat Sangit. But these are popular within the tradition and in the presentations of Sikh Kirtankars. These includes Majh, Asa, Devgandhari, Sorathh, Dhanasri, Tukhari, Basant, Malar, Kanra, Prabhati and rag Prakars / forms i.e. Gauri Guareri, Gauri Dakhni, Gauri Cheti, Gauri Bairagan, Gauri Purbi Dipki, Gauri Purbi, Gauri Dipki, Gauri Majh, Gauri Malva, Gauri Mala, Gauri Sorathh, Asa Kafi, Asavari Sudhang, Devgandhari, Wadahans Dakhni, Tilang Kafi, Suhi Kafi, Suhi Lalit, Bilaval Dakhni, Bilaval Mangal, Bilaval Gond, Ramkali Dakhni, Maru

Mukh Rags of Sri Guru Granth Sahib

1. Siri 2. Majh 3. Gauri 4. Asa 5. Gujri 6. Devgandhari 7. Bihagra 8. Wadhans 9. Sorathh 10. Dhanasri 11. Jaitsri

12. Todi 13. Bairari 14. Tilang 15. Suhi 16. Bilaval 17. Gond 18. Ramkali 19. NatNarain 20. MaliGaura 21. Maru

22. Tukhari 23. Kedara 24. Bhairo 25. Basant 26. Sarang 27. Malhar 28. Kanra 29. Kalyan 30. Prabhati 31. Jaijavanti

31 Rag Prakars of Sri Guru Granth Sahib

1. Gauri Guareri 2. Gauri Dakhni 3. Gauri Cheti 4. Gauri Bairagan 5. Gauri Purbi Dipki 6. Gauri Purbi 7. Gauri Dipki 8. Gauri Majh 9. Gauri Malva 10. Gauri Mala 11. Gauri Sorathh

12. Asa Kafi 13. Asavari 14. Asavari Sud Œhang 15. Devgandhari 16. Wadahans Dakhni 17. Tilang Kafi 18. Suhi Kafi 19. Suhi Lalit 20. Bilaval Dakhni 21. Bilaval Mangal

22. Bilaval Gond 23. Ramkali Dakhni 24. Nat 25. Maru Kafi 26. Maru Dakhni 27. Basant Hindol 28. Kalyan Bhupali 29. Prabhati Bibhas 30. Prabhati Dakhni 31. Bibhas Prabhati

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Kafi, Maru Dakhni, Basant Hindol, Kalyan Bhupali, Prabhati Bibhas, Prab-hati Dakhni, Bibhas Prabhati etc.

Music Elements of Gurmat Sangit : Element providing compositional base to the Singing styles of Gurmat Sangit include Rahao as Satha-i, Ank, Antra, Sanchari, Abhog.

Rahao An indication in the shabad compositions of Guru Granth Sa-hib containing the central idea, is used as refrain (Sthāī).

Antra is the second part of a composition after Sthāī or refrain.

Sanchari is the third part or stage of Dhrupad composition.

Abhog is the fourth part or stage of dhrupad composition.

Ank is an indication with digits (1,2,3,4 etc.) within Shabad composi-tion, classifying number of refrains (Satha-i) and Antras, for reciting.

Singing styles of Gurmat Sangit : The tradition of Gurmat Sangit well equipped with its specially designed & formatted singing styles and forms. It is a blend of classical and folk singing styles.

Sikh religion developed and flourished in Punjab. The Sikh Gurus preferred to chose rags, singing styles, instruments from the folklore of the area. These are adopted in Gurmat Sangit tradition with some modi-fications suitable to religious canvas and communion with Akal-purakh. These elements are being used in the traditionally since five centuries, to convey Divine words, Gurbani hymns, to congregation.

Classical singing styles includes Pade, Ashtpadi, Partal etc. According to musicology of Sri Guru Granth Sahib, these compositions should be sung in Dhrupad manner.

Pade has been assigned various forms i.e. Dupade (a unit of two stan-zas), Tipade (A unit of three stanzas), Chaupade (A unit of four stanzas), Panchpade (A unit of five stanzas), Chhipade (A unit of stanzas), Ash-tpadi (A unit of eight stanzas).

Ashtpadi is a classical singing style of medieval period. It is a form of Prabandh style of singing. Bhagat Jaidev’s Git Govind is a creation of Ash-tpadi style. Two Ashtpadi compositions of Jaideva are also included in Sri Guru Granth Sahib under rag Gujri and Maru. Guru Nanakdev Ji, Guru Amardas Ji, Guru Ramdas Ji, Guru Arjandev Ji, Bhagat Ravidas Ji, Bhagat Kabir Ji and Sheikh Farid have composed Bani using Ashtpadi style.

Partal is a prominent classical singing style of Gurmat Sangit. It is a peculiar singing style of the tradition. No other music system has got it. According to Ajoy Chakraborty, a similar singing form Tal-Firat is popu-

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lar in music tradition of Bengal But with different meaning and form. Panchtaleshvar term is also used in music scriptures of Indian tradition, But it is used for five tals of Margi Sangit. So Partal is a unique singing style of Gurmat Sangit tradition. Guru Ramdas Ji and Guru Arjandev Ji used Partal style in their compositions.

Var is a folk singing style. It is known as Ballad. Var contains heroic deeds of the warriors of north India. There are 22 Vars scripts available in Sri Guru Granth Sahib Ji. Nine Vars have been prescribed under Dhu-nis, directing to recite, within a set framework. These Dhunis are sug-gests the relation of Gurbani with folklore and authenticity of traditional source of the rags prescribed to sing these Vars.

Var is available in Sri Guru Granth Sahib in the form of Pauri, a folk poetic form of Punjab.

Chhant is a part of Punjabi folklore, traditionally sung during the cer-emonies of Sikh way of life, especially marriage and other happy mood occasions. Guru Nanakdev Ji, Guru Ramdas Ji and Guru Arjandev Ji con-tributed Bani in this form.

Ghorian is a typical folk singing style related to marriage ceremonies, in Punjabi culture. This is sung by the female relatives of the groom, at the time of riding, beautifully caparisoned mare (female horse), to bride’s home, for marriage. Before the departure, sisters used to sing Ghorian, praising the personality of groom and features of the mare. Guru Ramdas Ji has recited Ghorian under rag Wadahans. He took it in spiritual refer-ence and meaning depicting the opportunity to get united with Akal-purakh. Here mare is human body.

Alahunian is a folk style used at the time of death of a related person. Guru Nanakdev Ji and Guru Amardas Ji have recited Bani in this form. Alahunian contains admirable qualities and praise for the deceased. It is a part of Akal Chalane Di Kirtan Chauki.

The folk singing styles of Sri Guru Granth Sahib are integral part of Sha-bad Kirtan tradition of Gurmat Sangit.

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Folk Singing Style of Gurmat Sangit Music is the Universal language. It deals with soothing and melodi-

ous voices, of instruments or human throat. Instrumental melodies called Instrumental music, whereas a soothing human voice belongs to singing. Singing is an innate part of the human experience, we all love to sing, and it’s one of the greatest forms of entertainment. Singing is part & parcel of our life since the origin of society. It is a way to express our-selves through melody, rhythm and poetry. It is a powerful medium to communicate ones feelings. The singing styles developed thorough gen-erations are identified with their poetic style or the occasion on which these are being presented are known as folk singing styles. Pitch, tone & rhythm provide the base to a singing style.

Style means fashion, format, genre, tribe or family etc. Sharing basic music elements or language is known to be a particular style of singing. The posture, breathing, emotions and volume play significant role in for-matting a singing style.

Singing style: We are having a great diversity in Indian cultural tradi-tion. It is world’s largest democracy with highest number of religions, communities, sects dwelling here. All are having their own language, cul-ture and tradition of music. So there is a huge variety in the music styles in our country. Vocal tradition of music is consisted of various singing styles. There should be some special qualities in a singing style to dis-tinct it from other contemporary ones. The use of various elements, ac-tively flourishing in a way provides a strong base for the origin of a sing-ing style.

A distinctive singing style should have alike attributes with its identi-cal musicology and theoretical base. It should be widely used and accept-ed in the contemporary tradition. Singing style should have its own dis-tinctiveness. There should be individual as well as collective practise or drill (ryaz) for the singing style. Formal or informal education must be required to attain the singing style.

Folk Music: A folk style needs whole hearted dedication and hard work of generations of centuries to figure out it. The music of the masses transmitted through their words by themselves is folk music. It is an ex-pression of the life of a community through combination of melodious vocal, sounds, rhythm and traditional poetry. Musical folklore is folk mu-sic. Sometimes instrumental sounds remain absent from these singing styles. The traditionally typical music composed by anonymous compos-

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ers is known as folk music.

Gurmat Sangit : Sri Guru Granth Sahib is treated a living Guru by the Sikh Community. The Bani Bani scripted therein Sri Guru Granth Sahib is not merely the chanting material. It is evolving a great musicological sys-tem. The use of various music elements is unique and identical in this tradition. Gurmat Sangit is the music-system to recite Gurbani. It is intro-duced by Sri Guru Nanakdev Ji, the founder of the Sikh religion. The suc-cessors Gurus also followed the same tradition of music. Now a de we get musicology of Gurmat Sangit from Bani, incorporated within Sri Guru Granth Sahib, in the form of headings, signs and expressions, like rag, Mehla, Ghar, Dhuni, singing style and signs after each stanza of Gurbani.

Gurmat Sangit involves a unique combination of poetry and music. Both the arts are flourishing independently in all the languages of the world, but are interdependent also at the stage of presentations. Music is used as a means to convey the underlying meaning of Gurbani, the divine poetic message only. It is not merely use to express the talent and vocab-ulary of the presenter, as it in practise in other Indian music traditions. And even it doesn’t means that Gurmat Sangit tradition downgrade mu-sic, but here music elements are used with such a mastery, that Kirtankar handle music with great ease and recite Bani, the divine mes-sage with full concentration in respect of correct pronunciation and presentation of meaning. The main aim of Gurmat Sangit is to enlighten the inner spirit of its recital and audience. The prosodic forms of Gurbani, scripted with specific rag as heading and other musical signs, get the shape of singing style. Singing style means the system to recite or sing Gurbani.

Singing styles of Gurmat Sangit: Gurmat Sangit tradition is originated from Indian Music. It is but natural to spot the sings of India music with-in Gurmat Sangit tradition. As far as singing styles are concerned, Gurmat Sangit tradition propagated the melodies and singing styles with the similar nomenclature of these. There is similarity in the names of rags as well as singing styles. We can classify the singing styles of Gurmat Sangit tradition into two major streams. The singing styles origi-nated from the classical tradition of Indian music can be identified as Classical singing styles and the styles chosen from the folk tradition are known as Folk singing styles. All the Guru’s and Banikars preserved, propagated and enriched the treasure of Gurmat Sangit singing styles with their talent and divine vision.

Guru Nanakdev Ji (1469-1539) carried out four Udasis (religious

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journeys) to spread the divine message. He chose to address the Sangat (audience) using their own communication tools, like dialect, language and music elements. The stress was laid down to convey the divine mes-sage in concrete, but not the intelligence of the performer or the commu-nication tools being used. Prominence was given to Shabad, the divine poetry only and the message within. Wherever Baba Nanak went, the local singing styles and music systems were opted. A huge treasure of Gurmat Sangit became the asset of the tradition during the tenure of Sri Guru Nanakdev Ji, resulted inclusion of classical & folk singing styles in the tradition. Later on successor Gurus preserved & propagated the tra-dition on the footsteps of the founder Guru and contributed their Bani in different rags and singing/poetic styles. The detail is as follows.

Guru Nanakdev Ji (1469-1539) contributed classical melodies, the rags (Siri , Wadahans, Dhanasri , Suhi , Bilaval, Ramkali , Maru, Bhairon), mixed version of classical melodies, the rag-parkaras (Gauri-Guareri , Gauri-Dakhni , Gauri-Cheti , Gauri-Bairagan, Gauri-Purbi Purbi , Gauri-Dipki , Gauri-Purbi-Dipki , Wadahans-Dakhni , Suhi-Kafi , Bilaval-Dakhni , Ramkali-Dakhni , Maru-Kafi , Maru-Dakhni , Basant-Hindol, Prabhati-Bibhas, Prabhati Prab-hati-Dakhni) regional melodies, (Majh, Gauri , Asa, Sorathh, Tilang, Gujri , Tukhari , Sarang), mixed version of classical & regional melodies (Asa-Kafi) seasonal melodies (Basant, Basant Hindol, Malar) as evident from the Bani of Mehla Pehla, drafted therein Sri Guru Granth Sahib.

Guru Nanakdev Ji picked Majh, Asa, Gujri, Tukhari and Sarang melo-dies from folk tradition of Indian music, but he used classical melodies for folk singing styles also. He contributed Dupade (Asa), Tipade (Tilang, Maru, Basant-Hindol), Chaupade (Siri , Gauri , Asa, Gujri , Wadahans, Sorathh, Dhanasri , Tilang, Suhi , Bilaval, Ramkali , Maru, Bhairon, Basant , Sarang, Malar, Prabhati , Gauri-Guareri Guareri , Gauri-Dakhni , Gauri-Cheti , Gauri-Bairagan, Gauri-Dipki , Gauri-Purbi-Dipki , Basant-Hindol, Prabhati-Vibhas), Panchpade (Asa, Sorathh, Dhanasri), Ashatpadi (Siri , Majh, Gauri , Gujri , Wadahans, Sorathh, Suhi , Bilaval, Maru, Bhairon, Basant , Sarang, Malar, Prabhati , Gauri-Guareri , Gauri-Cheti , Gauri-Bairagan, Asa-Kafi , Wadahans-Dakhni , Suhi-Kafi , Basant-Hindol, Prabhati Vibhas, Prabhati-Dakhni), Paihre (Siri), Var (Majh, Asa, Malar), So-dar (Asa), Pati (Asa), Chhant (Asa, Wa-dahans, Dhanasri , Suhi , Bilaval, Tukhari , Gauri-Purbi , Bilaval-

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Dakhni), Arti (Dhanasri), Kuchajji-Suchajji (Suhi), Thhitti (Bilaval), Sohale (Maru), Barah-Mah (Tukhari), Sidh-Gost (Ramkali), Dakhni Oankar (Ramkali-Dakhni) poetic/singing styles. Dupade, Tipade, Chaupade, Panchpade are supposed to be from classical styles whereas Paihre, Var, Sodar, Pati, Chhant, Arti, Kuchajji-Suchajji, Thhitti, Sohale, Barah-Mah, Din-rain are considered folk styles of Gurmat Sangit tradi-tion. The culture of southern devotional tradition is depicted under Oan-kar Bani. Bhai Sazada, the son of Bhai Mardana Ji used to recite Gurbani at Kartarpur Sahib also.

Guru Angad Dev Ji (1504-1539-1552) colonised a new town and named it Khadur Sahib. He initiated the tradition of preservation and propagation of Shabad Kirtan by appointing Rababis (Bhai Sazada ‘son of Bhai Mardana Ji ’, Bhai Sadu, Bhai Badu, Bhai Sata and Bhai Balvand) for daily Kirtan performances, introduced by the found-er Guru Nanakdev Ji. He contributed Bani in ‘slok’ style under eight rags already used by Guru Nanakdev Ji (Siri , Majh, Asa, Sorathh, Suhi , Ramkali , Maru and Sarag). The slokas of Guru Angad Dev Ji are scripted in Sri Guru Granth Sahib under various Vars. Slokas are used as a part and parcel of Var singing style. So slok itself is a Bani in the folk tradition. During the tenure of Guru Angad Dev Ji singing elements of Rababis supplemented the tradition of Shabad Kirtan.

Guru Amardas Ji (1479-1552-1574) colonised Goindval Sahib. Si-randa, the first and exclusive instrument designed and crafted by Guru Amardas Ji was introduced in Sikh Kirtan tradition. He encouraged recit-ing Bani Kirtan at different ceremonies of Sikh way of life. Guru Ramdas Ji introduced Shabad Kirtan on the occasion social gatherings on the eve of various festivals also. Bhai Pandha and Bhai Bulla were inducted as Rababi Kirtankar. Guru Amardas Ji recited Bani under 17 Mukh Ragas (Siri , Majh, Asa, Gujri , Bihagra, Wadahans, Sorathh, Dhanasri , Suhi , Bilaval, Ramkali , Maru, Bhairau, Basant, Sarag, Malar and Prabhati Prabhati) and six Rag Parkars (Gauri Guareri , Gauri -Bairagan, Gauri-Purbi , Asa-Kafi , Basant-Hindol and Prabhati-Vibhas) using the melodies already existing in the Gurmat Sangit tradi-tional.

He contributed Pade (Gujri), Tipade (Bhairau), Chaupade (Siri , Asa, Gujri , Wadahans, Sorathh, Dhanasri , Maru, Basant, Malar, Prabhati , Gauri-Guareri , Gauri-Bairagan, Asa-Kafi and Basant-Hindol), Panchpade (Asa, Maru, Bhairau, Basant and Malar), Ash-tpadi (Siri , Majh, Asa, Gujri , Wadahans, Sorathh, Suhi , Bilaval,

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Ramkali , Maru, Bhairau, Sarag, Malar, Gauri-Guareri , Asa-Kafi and Prabhati-Bibhas), Var (Gujri , Suhi , Ramkali and Maru), Var-Sat (Bilaval), Chhant (Wadahans, Suhi and Gauri-Purbi), Patti (Asa and Gujri), Sohle (Maru), Allahuni-an (Wadahans), Anand-Sahib (Ramkali).

Guru Amardas Ji contributed Var, Var-sat, Chhant, Patti, Sohle and Alahunian folk prosodic/singing styles in his Bani.

Guru Ramdas Ji (1534-1574-1584) initiated the construction of Sri Amritsar Sahib, which was latterly completed by his son, the fifth Guru Arjandev Ji. He used 30 Mukh Rags (Siri , Majh, Gauri , Asa, Gujri , Devgandhari , Bihagra , Wadahans, Sorathh, Dhanasri , Jaitsri , Todi , Bairari , Tilang, Suhi , Bilaval, Gond, Ramkali , Nat -Narain, Mali-Gaura, Maru, Tukhari , Kedara, Bhairau, Basant, Sarag, Malar, Kanhra, Kalian and Prabhati) and Ten Rag Prakaras (Gauri-Guareri , Gauri-Bairagan, Gauri-Purbi , Gauri-Majh, Asa-Kafi , Asavari , Nat, Bilaval -Mangal, Kalian-Bhopali and Prabhati-Bibhas) in his Bani. He introduced ten new Ragas (Devgandhari , Jaitsri , Bairari , Todi , Gond, Nat -Nara-in, Mali-Gaura, Kedara, Kanra, Kalian) and four Rag Parkars (Gauri-Majh, Asavari , Nat and Kalian-Bhopali) in Gurmat Sangit tradition. Guru Ram Das Ji contribut-ed Dupade (Devgandhari , Dhanasri , Todi , Bairari , Tilang, Sarag, Kanra, Asavari and Kalian-Bhopali), Chaupade (Siri , Majh, Asa, Gujri , Wadahans, Sorathh, Dhanasri , Jaitsri , Todi , Bilaval, Gond, Ramkali , Mali-Gaura, Maru, Kedara, Bhairau, Basant, Sarag, Malar, Kanra, Kalian, Pra bhati , Suhi , Gauri-Guareri , Gauri-Bairagan, Gauri-Purbi , Gauri-Majh, Asa-Kafi and Prab-hati-Bibhas), Panchpade (Asa, Sorathh, Ramkali , Maru and Sarag), Chhipade (Wadahans), Ashatpadi (Majh, Gujri , Bilaval, Basant, Kanra, Kalian, Suhi and Nat), Paihare (Siri), Chhant (Siri, Asa, Bihagra, Wadahans, Dhanasri , Tukhari , Suhi and Bilaval -Mangal), Vanjara (Siri), Var (Siri , Gauri , Bihagra, Wadahans, So-rathh, Bilaval, Sarag and Kanhra), Ghorian (Wadahans), Sohle (Maru) and Partal (Bilaval, NatNarain, Sarag, Malhar and Kanra ) as prosodic forms and singing styles. Guru Ram Das Ji propagated Pai-hare, Chhant, Vanjara, Var, Ghorian and Sohale folk styles in his Bani.

Guru Arjandev Ji (1563-1581-1606) set the regular tradition of Sha-bad Kirtan at Sri Harimandar Sahib. He collected the Bani of his prede-cessors Guru’s, contemporary saints & seers and compiled it on the basis of Ragas used in the form of ‘Adi Grantha’ and placed the Grantha in the

24


central shrine of Sri Harimandar Sahib. He appointed Baba Baba Budha Ji, the first head Granthi of Sri Harimandar Sahib. Bhai Satta & Balwand was the first duo to perform Kirtan at Sri Harimanir Sahib. Guru Ar-jandev initiated performance of daily Kirtan Chauki tradition at Sri Ha-rimandar Sahib. He picked 30 Mukh rags (Siri , Majh, Gauri , Asa, Gujri , Devgandhari , Bihagra, Wadahans, Sorathh, Dhanasri , Jaitsri , Todi , Bairari , Tilang, Suhi , Bilaval, Gond, Ramkali , Natnara-in, Maligaura, Maru, Tukhari , Kedara Kedara, Bhairau, Basant , Sarag, Malar, Kanra, Kalian and Prabhati) and 14 rag prakaras (Gauri-Guareri , Gauri-Cheti , Gauri-Bairagan, Gauri-Purbi , Gauri-Malva, Gauri-Majh, Gauri-Mala, Asa-Kafi , Asavari-sudhang, Asavari , Nat, Basant -Hindol, Prabhati-Bibhas and Bibhas-Prabhati).

Guru Arjandev Ji recited Bani in the prosodic/singing forms of Dupade (Asa, Gujri , Devgandhari , Dhanasri , Jaitsri , Todi , Bairari , Tilang, Bilaval, Ramkali , Natnara-in, Maligaura, Maru, Kedara, Bhairau, Sarag, Malar, Kanra, Kalian, Gauhri -Cheti , Asavari , Asavari-Sudhang and Nat), Tipade (Asa, Gujri , Wa-dahans, Dhanasri , Tilang, Bhairau, Asavari and Nat), Chaupade (Siri , Majh, Gauri , Asa, Gujri , Bihagra, Wadahans, Sora thh, Dhanasri , Jaitsri , Todi , Tilang, Bilaval, Gond, Maligaura, Bharau, Basant, Sarag, Malar, Kanra, Pra bhati , Gauri-Guareri , Gauri-Cheti , Gauri-Purbi , Gauri-Malva, Gauri-Mala, Asa-Kafi , Basant-Hindol and Prabhati-Bibhas), Panchpade (Asa, Gujri , Wa-dahans, Sorathh, Gauri-Bairagan and Gauri-Majh), Ashatpadi (Siri , Majh, Gauri , Asa, Sorathh, Dhanasri , Suhi , Maru, Bhairau, Basant and Sarag), Paihre (Siri), Chhant (Siri , Gauri , Asa, Bihagra, Wadahans, Dhanasri , Jaitsri , Suhi , Bilaval, Ramkali , Tu khari , Kedara, Sarag, Malar, Kanra and Gauri-Bairagan), Dakhna (Siri), Barah-Mah (Majh), Din-Rain (Majh), Bavan-Akhri (Gauri), Partal (Asa, Dhanasri , Suhi , Bilaval, Ramkali , Natnara -in, Bhairau, Sarag, Malar, Prabhati-Bibhas), Var (Gujri , Jaitsri , Ramkali , Maru and Basant), Anjali (Maru), Sohle (Maru).

He contributed Paihare, Chhant, Dakhna, Barah-Mah, Din-Rain, Bavan-Akhri, Anjali and Sohle as folk prosodic/singing styles.

Guru Teg Bahadar Ji (1621- 1664-1675) introduced rag Jaijavanti to Gurmat Sangit tradition. He used 15 Mukh rags (Gauri , Asa, Devgandhari , Bihagra , Sorathh, Dhanasri , Jaitsri , Todi , Tilang, Bilaval, Ramkali , Maru, Basant , Sarag and Jaijavan ti), and two

25


rag prakaras (Tilang-Kafi and Basant-Hindol) in his Bani.

Guru Teg Bahadar Sahib used Dupade (Gauri , Asa, Devgandhari , Sorathh, Dhanasri , Jaitsri , Todi , Tilang, Bilaval, Sarag, Jai-javanti Jaijavanti , T ilang -Kafi and Basant-Hindol), Tipade (Bihagra, Sorathh, Tilang, Ramkali and Basant) and Panchpade (Maru) prosodic/singing forms. He didn’t use any folk style.

In view of above study we summarized that classical singing styles, Pade is used by Guru Amardas Ji; Dupade by Guru Nanakdev Ji, Guru Ramdas Ji, Guru Arjandev Ji and Guru Teg Bahadar Ji; Tipade by Guru Nanakdev Nanakdev Ji, Guru Amardas Ji, Guru Arjandev Ji and Guru Teg Bahadar Ji; Chaupade by Guru Nanakdev Ji, Guru Amardas Ji, Guru Ramdas Ji and Guru Arjandev Ji; Panchpade by Guru Nanakdev Ji, Guru Amardas Ji, Guru Ramdas Ji, Guru Arjandev Ji and Guru Teg Bahadar Ji; Chhipade by Guru Nanakdev Ji and Guru Ramdas Ji; Ashatpadi by Guru Nanakdev Ji, Guru Amardas Ji, Guru Ramdas Ji and Guru Arjandev Ji.

There are so many folk prosodic and singing styles used by the Sikh Gurus in their Bani scripted in Sri Guru Granth Sahib. Slok, which is con-sidered a singing style not formatted within the tempo of any tal. It is the singing style having no boundary restrictions of tempo also. Guru Nanak-dev Ji and Guru Angad Dev Ji used this style in their Bani.

Var singing style, deals with the bravery tales of the native Heros of a culture and civilization. It is a folk singing style, popular in the rural are-as. This singing style has bold and enthusiastic impression on the listen-ers. Guru Nanakdev Ji, Guru Amardas Ji, Guru Ramdas Ji and Guru Ar-jandev Ji used var, as scripted in Sri Guru Granth Sahib. Bani with the title of Var-Sat is also used by Guru Amardas Ji.

Chhant is very popular folk style of Punjabi culture. It is being sung on the occasions of some rituals of happy moods, like a marriage cere-mony etc. The Bani with the title of Chhant is recited by Guru Nanakdev Ji, Guru Amardas Ji, Guru Ramdas Ji and Guru Arjandev Ji is scripted in Sri Guru Granth Sahib.

Paihar is a quarter divisions of de & night, in practise since centuries. Folk poets used Paihre to depict various mood swings of human behav-iour during different phases of de & night. Taking the instances from the life, Guru Nanakdev Ji, Guru Ramdas Ji and Guru Arjandev Ji used this style in their divine message.

Sodar is very famous Bani, being sung daily in the evening prayer sessions in all Guru-Ghars. In Punjabi language, dar (door) means, a liv-

26


ing place. Here So-dar (so-dru) means the door of God, Akal-Purakh and the All-Mighty. Within this Bani, a pen picture of the universe, gods & goddesses singing the glories of the Divine power is potrated. Guru Nanakdev Ji used this style very effetely. In Gurmat Sangit tradition the devotees sings this Bani with great passion & devotion, along with Kirtani Jatha, in the beginning of Raihras Sahib.

Patti: Guru Nanakdev Ji and Guru Arjandev Ji used this style as evi-dent from the Bani of Sri Guru Granth Sahib. Within Pati prosodic style in references with Varan-Mala of Punjabi language divine message is conveyed to be a good human being.

Barah-Mah: Guru Nanakdev Ji and Guru Arjandev Ji contributed Barah-Mah. The effect of the seasonal changes is discussed in this pro-sodic form to convey idle behavior to human beings.

Arti: It is said that Guru Nanakdev Ji appended Arti at Jagan Nath, a Hindu temple a Puri, in Orissa to convey the message that the God is eve-rywhere and the whole Universe is worshiping the All Mighty.

Kuchajji/Suchjji: Guru Nanakdev Ji has conveyed features of well-organized human being withing this Bani.

Thitti by Guru Nanakdev Ji; Sohale by Guru Nanakdev Ji, Guru Amar Das Ji, Guru Ram Das Ji and Guru Arjandev Ji; Dakhni Oankar by Guru Nanakdev Ji; Sidh-Ghost by Guru Nanakdev Ji; Allahunian by Guru Nanak-dev Ji and Guru Amardas Ji; Ghorian Guru Ramdas Ji; Anand Sahib by Guru Amardas Ji; Wanjara Guru Ramdas Ji; Karahale by Guru Ramdas Ji; Anjali by Guru Arjandev Ji; Bavan-Akhri by Guru Arjandev Ji; Din-Rain by Guru Arjandev Ji etc. are also considered to be the forms derivate from folk tradition.

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Kirtan Chauki of Asa Di Var

Guru Granth Sahib is the living Guru of the Sikhs. All the directives

scripted in the Holy Scripture are being followed by the Sikhs. Gurmat

Sangit is the tradition to recite hymns of Sri Guru Granth Sahib, within

the format of a specially designed musicology, available from the direc-

tives, incorporated in the Gurbani.

The Bani (Divine word) of Sri Guru Granth Sahib is embedded with

headings and signs, giving well-marked and specific basis to the singing

and poetic styles and format. It is because, Sri Guru Granth Sahib is

known as a singable treatise of Sikh religion. Since more than four centu-

ries, the hymns of the Granth are being recited at the congregations of

the religion. Singing hymns of Sri Guru Granth Sahib is known as Shabad

Kirtan and it has become inseparable part of Sikh way of life.

The Sikh Gurus chose local dialect and music elements, to convey

Divine words. Shunning away the complexities of traditional languages,

the Gurus chose talking terminological parameters to deliver Gurbani.

Various aspects of the Thought of Gurbani are placed in 24 chapters of

Asa Di Var. It is written in Pauri style. Var is a poetical narration of a sto-

ry, divided into short stanzas. It is a traditional poetic style, of unknown

authorship, having passed on orally from one generation to the next.

A set of Gurbani recitation is known as Kirtan Chauki. The nomencla-

ture of Kirtan Chauki is defined on the basis of Bani, Rag, recitation time

or reference etc. Asa Di Var is prominent Bani of Guru Nanakdev Ji. The

singing of Asa Di Var is known as Asa Di Var Di Kirtan Chauki.

Asa Di Var is an important and most recited Bani of Sri Guru Granth

Sahib Ji. Asa Di Var is conceived as a combination of three words, Asa

means hope, Di is used as conjunctive with the meaning ‘of’, Var is and

ode or lyrical verse/prose of folk tradition. Asa is also a rag, extracted

from the folk tradition of Punjab.

Asa Di Var is considered Ballad of Hope, by the devotees of Sikh reli-

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gion. There is a belief that the listening or singing of Asa Di Var, whole

heartily, fulfills wishes and hopes of a real devotee. Asa Di Var is also

known as Asa Ki Var. It is scripted as Asa Ki Var in the Tatakara (index)

of Sri Guru Granth Sahib but it is called Asa Di Var by the Kirtankars

(Ragis or Sikh sacred musicians) and devotees of the tradition. It is com-

posed by Guru Nanakdev Ji, the founder of Sikhism. During the compila-

tion of Sri Guru Granth Sahib Ji, Guru Arjandev Ji included a few slokas of

Guru Nanakdev Ji and Guru Angad Dev Ji, with the Pauris of Asa Di Var,

to highlight the theme of Pauris.

Var is used to instill martial spirit in the marshal armies, going to

battle to destroy the enemies. But Asa Di Var describes to fight with the

enemies active in our behavior. It deals with the procedure to disband

bad habits, and shows us the track to make ourselves pious to able to get

communion with the Akal-purakh. The Pauris express the basic ideas

related to socio-religious life in general. The slokas (staves) clarify the

idea with examples and suggestion. It contains warning against tricky

rituals of traditional priests and monks. Asa Di Var advocates character

building, removing obstacles on the way of communion and leave ego,

selfishness and arrogance.

Guru Nanakdev Ji revealed, his experiences and observations, on the

incidents occurred around him, during his way of life. The instances in-

cluded therein Asa Di Var itself prove the source of inspiration and par-

ticipants of the occurrence. It is believed in folk tales, related to Sikh reli-

gion, that first 9 Pauris are composed in Multan, the town of Sheikh

Farid.

The Dhuni headings are providing special features to singing of the

ballad, the Var. These are extracted from heroic deeds of the warriors of

Northern India. These folk tunes are providing basis to singing of Vars

but also a valuable treasure for Indian music tradition. These headings

shows the origin of rags related to these Dhunis. It also advocates the

central role of music tradition of Punjab in Hindustani music system.

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Prescribed Dhunis in combination with prescribed rags, establish

peculiar folk singing style of Gurmat Sangit. It is evident from the above

articulation that Sri guru Granth Sahib has a great importance in music,

But not properly evaluated by the scholars and musicologists working in

the Indian music stream. The untiring efforts of Dr. Gurnam Singh are

laudable to propagate the tradition of Gurmat Sangit worldwide in its

true spirit and shape.

Asa Di Var is the most popular unit of these 22 Vars available from

Sri Guru Granth Sahib. It is being recited since the time of Guru Nanak-

dev Ji, in the Gurdwaras, all around the world.

Singing format of Asa Di Var: In Sikh sacred music tradition, it is man-

datory to recite Asa Di Var, during daily routine of early morning Kirtan

tradition. The historical references suggests that Guru Nanakdev Ji, him-

self used to recite Asa Di Var, in the melodious Rabab accompaniment by

Bhai Mardana Ji. Bhai Sahzada, the son of Bhai Mardana Ji used to recite

Asa Di Var at Kartarpur, the first Kirtan Kendra of Sikh sacred music,

now in Pakistan. Bhai Lehna Ji (elevated as Guru Angad Dev Ji, later on)

also recited Asa Di Var in the company of Bhai Sahzada Ji in the presence

of Guru Nanakdev Ji.

The Kirtankars are instructed to sing Asa Di Var on the tune of

‘Tunde Asraje Ki Dhuni’. There is an historic event, related to this tune.

The term Tunda is used for hand amputee. The king of Asraj (the state of

As) was amputee from his hands on the his father, the king of the state.

The deeds and ode of Tunda Asraj were sung as bards in the typical

fashion of his time. These were extremely popular and melodious. Later

on Sikh Gurus adopted the tune to recite Asa Di Var. Asa Di Var is one of

the basic sacred compositions of Sri Guru Granth Sahib. It is sung in the

morning congregations in Gurdwaras, all over the world.

At present the Kirtankars of Gurmat Sangit tradition, recite 24

Chhants, of Guru Ramdas Ji, along with, 24 Pauris of Asa Di Var. As evi-

dent from the Bani of Sri Guru Granth Sahib Ji, Asa Di Var is supported by

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59 slokas (stanzas), 44 by Guru Nanakdev Ji and 15 by Guru Angad Dev

Ji.

The theme of 24 Pauris of Asa Di Var varies from passage to passage,

but all the themes emphasis on the life style of man and discusses the

means to liberate himself from the bondage of selfishness and get ready

for the communion with the divine power Akal-purakh, the God. The text

also denounces the ills of contemporary life, inequalities and artificiali-

ties. Var is a folk poetic form, dealing with heroic descriptions, of the

brave deeds by the leading personalities of the society.

Kirtankar used to prefix a Chhant of Guru Ramdas Ji before each

Pauri of Asa Di Var. All the Pauris are embedded with slokas. Chhakka is

known as combination of Chhant, sloka and pauri. Bani (verses) from Sri

Guru Granth Sahib Ji, of Bhai Gurdas, Bhai Nand Lal, having similar

theme as of Chhaka are interposed in-between Pauris of Asa Di Var.

Although Var is a folk singing style But under the musicological sys-

tem of Sri Guru Granth Sahib, it is prescribed under rag Asa. It means Asa

Di should be sung under the melodious framework of rag Asa only. In

practice the Kirtankars are using other rags of morning time for Asa Di

Var. They would start with rag Asa but after a few Slokas, they will

switch over to another rags of the time i.e. Bhairon, Ramkali, Bilaval,

Asavari and also some rags of Hindustani music i.e. Ahir Bhairav, Bairagi

etc.

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Rags Used for 22 Vars (Balads) In Sri Guru Granth Sahib

Sr. Banikar Rags No. of Rags

No. of Vars

1. Guru Nanakdev Majh

Asa

Malhar

3 3

2. Guru Amardas Gujri

Suhi

Ramkali

Maru

4 4

3. Guru Ramdas Sri

Gauri

Bihagra

Wadhans

Sorathh

Bilaval

Sarang

Kanra

8 8

4. Guru Arjandev Gauri

Gujri

Jaitsri

Ramkali

Maru

Basant

2/6 6

5. Bhai Satta & Balvand Ramkali 0 1 Total Rags 17

Total Vars 22

32


22 Vars At A Glance

Sr. Rag Banikar Title of Var / Dhuni Page

1 Ramkali Guru Amardas Ramkali Ki Var Mehla 3

Jodhai Virai Purbani Ki Dhuni

847

Guru Arjandev Ramkali Ki Var Mehla 5 857

Bhai Satta &

Balvand

Ramkali Ki Var Ra-e Balvand

Tata Sat t ai Doom Akhi

866

2 Gauri Guru Amardas Gauri Kī Var Mehla 3 508

Guru Arjandev Gauri Kī Var Mehla 5

Ra-e Kamaldi Mojdi Ki Var Ki

Dhuni Oopar Gavani

318

3 Gujri Guru Amardas Gujri Ki Var Mehla 3 sikandar

Birahim Ki Var Ki Dhuni Gaoni

508

Guru Arjandev Rāg Gūjrī Vār Mehlā 5 517

4 Maru Guru Amardas Maru Var Mehla 3 1086

Guru Arjandev Maru Var Mehla 5 Dakhne M: 5 1094

5 Siri Guru Ramdas Ji Sirī Rāg Kī Vār Mėhlā 4

Salokā Nāl

83

6 Majh Guru Nanakdev Vār Mājẖ Kī Tathā Salok Mėhlā

1 Malak Murīḏ Tathā

Cẖanḏarhaṛā Sohīā Kī

Dẖunī Gāvṇī

137

7 Asa Guru Nanakdev Asa Mehla 1

Vār Salokā Nāl Salok Bẖī Mehle

Pahile Ke Likhe Tunde As Rājai

Kī Dhunī

462

8 Bihagra Guru Ramdas Bihagre Ki Var Mehla 4 548

33


22 Vars At A Glance

Sr. Rag Banikar Title of Var / Dhuni Page

9 Wadhans Guru Ramdas Wadhans Ki Var Melha 4

Lala Behlima Ki Dhuni Gavani

585

10 Sorathh Guru Ramdas Rag Sorathh Var Mehle 4 Ki 642

11 Jaitsri Guru Arjandev Jaitsri Mehla 5 Var Sloka Nal 705

12 Suhi Guru Amardas Var Suhi Ki Sloka Nal Mehla 3 785

13 Bilaval Guru Ramdas Bilaval Ki Var Mehla 4 849

14 Basant Guru Arjandev Basant Ki Var Mehal 5 1193

15 Sarang Guru Ramdas Sarang Ki Var Mehla 4

Ra-e Mehme Hasne Ki Dhuni

1237

16 Malar Guru Nanadev Var Malar 1 Ki Mehla Rane Kailas

Tata Malde Ki Dhuni

1278

17 Kanra Guru Ramdas Kanre Ki Var Mehla 4

Muse Ki Var Ki Dhuni

1312

34


Rag Asa : An Introduction

Sri Guru Nanakdev Ji, the founder of Sikh religion addressed the

Sangat, using local dialect, language, music and prosodic forms, to en-

hance the effect of Gurbani with the use of classical & folk melodies. As

evident from the Index (Tatakara). The Bani scripted therein Sri Guru

Granth Sahib is classified into 31 ragas, known as Mukh rags of the

Granth. The rag forms/shades (Prakars) also, placed under some rags

used in Sri Guru Granth Sahib. Asa is a Mukh rag placed at sequence four

from page (Panna) 347-488. There are two raga Prakars under this raga

i.e. Asavari and Asavari Sudhang.

Asa is benchmark & exclusive melody of Gurmat Sangit but in these

days it is being popular in Hindustani music tradition also, but with dis-

tinct face & style, as evident from the book ‘Rag Vyakaran’ written by

Vimalkant Rai Chaudhary. He instanced two forms of Asa, the first is hav-

ing Rishabh, Gandhar, Dhaivat & Nishadh in komal form; second only

komal Nishadh with Aurav – Sanpuran Jati. In Gurmat Sangit tradition,

there is a form of Asa having komal Nishadh in madhya Saptak and ko-

mal Gandhar in Tar Saptak. The second variant instanced by Vimalkant

Rai Chaudhary resembles with this Sarup of Asa of Gurmat Sangit tradi-

tion. Asavari is a common rag of both the traditions. Asavari Sudhang in

Gurmat Sangit is considered similar as Komal-Rishabh Asavari of

Hindustani music tradition.

Asa is a popular rag of Punjabi music since a long. It is developed

from a folk melody. Asa remained very near to the hearts of Sufi saints

also. Shekh Farid, Shah Husain used and marked this raga in their com-

positions.

Asa Di Var, the Bani being recited in the morning assemblies at all

Gurduwaras, all over the world, since Guru Era (Kal), is set to rag Asa by

Guru Nanakdev Ji, the founder. Guru Arjandev Ji initiated the tradition of

recitation of Asa Di Var along with 24 Chhants of Guru Ramdas Ji in the

same rag. As a Var it is scripted in Sri Guru Granth Sahib from Panna 462

35


to 475, under the heading – Asa Mehla 1, Var Sloka Nal Slok Bhi Mehle

Pehle Ke Likhe Tunde Asraje Ki Dhuni. Chhant of Guru Ramdas Ji script-

ed in Sri Guru Granth Sahib from Panna 448 to 451 with heading, Asa

Mehla 4 Chhant Ghar 4. This is the evidence that Sikh Guru’s used folk &

classical melodies simultaneously in Gurmat Sangit tradition. This was

the time when Indian music tradition was very rigid and classical musi-

cians do not respect the folk melodies or musicians, the originators of

the tradition. But Guru Nanak initiated the tradition to speak in the local

communication styles.

According to Bhai Kahn Singh Nabha states in Mahan Kosh, {Sampuran

Jati Di Ik Desi (Deshiya) Ragini, Jo Anmrit Wele Alapi Jandi Hai, Satguru

Angad Dev Ne Guru Nanak Maharaj De Sannmukh Anmrit Vele De Divan

Wich Asa Di Var Gaon Di Rit Chala-i, Guru Arjan Sahib Ne Chauthe Satguru

De 24 Chhakayan Nu 24 Paurhia Nal Kirtan Wich Shamil Kita, Hun Gurd-

ware-an Wich Asa Di Var Da Nit Kirt an Hunda Hai, Ga-en Rababi Asa Var,

(reference from Gurpratap Suraj Grant h); Gurmat Anusar Sod ar Di

Chauki Wele (sanjhe same) Bhi Asa Da Gaon Da Vidhan Hai, Is Ragini

Wich Sare Sur Shudh Han, Wadi rishabh, Sanvadi Madhyam Ate Greh Sur

Sharhaj Hai, Asa Di Sargam Ih Hai, Sa Re Ma Pa D ha Ni Sa, Re Sa Ni Dha

Pa Ma Ga Re Sa, Ka-i Grantha Ne Dhaivat Nu Wadi Mannea Hai, Aisi

Dasha Wich Gandhar Sanvadi Ho Janda Hai, Is Di Arohi Tan Wich

Gandhar Nahi La-o-na Chahie, Avrohi Wich Vartna Yog Hai.}

Bhai Kahn Singh Nabha concludes Asa is originated from folk tune,

having Sampuran clan (Jati). It is a morning rag. Guru Angad Dev Ji used

to recite Asa Di Var in the Guruship of Guru Nanakdev Ji. Guru Arjandev

Ji initiated the tradition of reciting 24 Chhants along with 24 pauris of

Asa Di Var.

Dr. Charan Singh describes in ‘Budh Prakash Darpan that Asa is dis-

covered with the combination of rag Siri and Maru. (Siri Rag Sur Porat-

ham Hi Dujay Maru Rag. Bib Sur Mil Asa Bha-i Jo Gavay Vadbhag.)

As per the thought of Bhai Veer Singh, Asa is developed from the

combination of Maru and Megh. The present forms of Asa does not cor-

36


relate with these ideas.

The Sikh Gurus treated all melodies as rag and not classified it as rag

or ragini as classified in other Indian music traditions of medieval peri-

od. It is evident from the Bani scripted therein Sri Guru Granth Sahib,

that all melodies are addressed as rag. Although, Rag Mala, incorporated

as the last Bani of the Granth, having a poetic version of the classification

as Rag Ragini etc. But the facts contained in the Bani didn’t match with

the musicology being originated from the musicological study of Sri Guru

Granth Sahib. The first rag of Sri Guru Granth Sahib is Siri, whereas Rag

Mala depicts Bhairon as the first rag and so on. There are so many rags

mentioned in Rag Mala but not used in the Bani of Sri Guru Granth Sahib

and vice versa. Rag Asa is not described in Rag Mala.

Rag Asa share its ascend with Durga, Pahari etc. The phrase ‘S R M P’

is similar as in raga Sarag. Descend of Asa is similar to Bilaval also. Be-

cause of impression of Bilaval, Asa is placed under Bilaval species (that).

Asa should be sung keeping its purity at priority. In these days some Kir-

t ankars does not follow its principles. Gandhar is proscribed in ascend of the

raga but it is being used frequently as ‘S R G M P’ in Asa Di Var recitals and

Sodar Bani recitals. Descend is Sanpuran but Gandhar after Pancham is

used by the majority of the Kirtankars. It should be S N D P M and not S N

D P G. Performing khatka at Sharhaj (RSNS) or Madhyam (PMGM) is a

compromise on the purity of the raga.

The phrase R M P shows Sarag Ang. It should be S R M P in rag Asa.

Although Asa is originated from folk melodies, but performing it in its

pure form needs special attention. According to time theory of rag, Asa is

scheduled to sing in Tin Pairay Di Kirtan Chauki, Asa Di Var Di Chauki

being performed from the last quarter of night to first quarter of day and

Sodar Di Chauki in the evening.

Species (That) : Bilaval

Time : Dawn, Dusk and last quarter of night

Clan (Jati) : Aurhav-Sampuran

Proscribed (Varjit) : Ghandhar and Nishad in ascend

37


Dominant (Vadi) : Sharhaj (S)

Sub-dominant (Sanvadi) : Madhyam (M)

Ascend (Aroh) : S R M, P D S

Descend (Avroh) : S N D P M, G R, S R G S

Governing Phrase : M G, S R G S

Elaboration of Bilaval (Rag Vistar):

1.S, S RS, S R G S, S, M G, S R G S, DN PD S, S R M P, M G R G S R G S

2.M, P M, P D P M, S M G R S, DN PD SR G S, S R M P, P D P M, M G, M

G R S R G S

3.D, P D P, DN PD P, P MG, R SR G S, S R MG, R S R M P, P D P, DN PD

P, DN PD S, S N D P, DN PD PM GR SR G S

4.S N D P, M P D, P D S, D N P D S, S R S, S R G R S, S R M, G R G S, S R S

N D P, D P M P M, D P M G R, S R G S

38


PHONETIC KEY TO RECITE HYMNS OF ASA DI VAR

A a A s s s

Aw a Aw h h h

ie i e k k k

eI i e_ K kh K

au u a g g g

aU u ‚ G gh G

ey e E | n |

AY ai Ey c ch c

E o Ao C chh C

AO au AO j j j

N jW M n < J jh J

\ n \

t t t q t q

T th T Q th Q

f d f d d d

F dh F D dh D

x n x n n n

p p p X y X

P ph P r r r

b b b l l l

B bh B v v v

m m m V r V

VH rh Vh z z jŒ

S sh S ^ kh KŒ

Z g gŒ & f PŒ

39


Hymns of Asa Di Var ¡siqgur pRswid]

Ik-Oankar Satgur Prasad . Asa Mehla 4 Chhant Ghar 4.

Har Anmrit Bhinne Lo-ena Man Prem Ratanna Ram Raje. Man Ram Kasvati La-e-a Kanchan Sovinna.

Gurmukh Rang Chalule-a Mera Man Tano Bhinna. Jan Nanak Musak Jhakole-a Sabh Janam Dhann Dhanna.

Ik-Oankar Sat nam Kart a Purakh

Nirbhau Nirvair Akal Murat Ajuni Saibhan Gur Prasad. Asa Mehla 1.

Var Saloka Nal Salok Bhi Mehle Pehle Ke Likhe. Tunde Asraje Ki Dhuni.

Salok Mehla 1. Balihari Gur Apane De-ohari Sad Var. Jin Manas Te Devt e Ki-e Karat Na Lagi Var. 1. Mehla 2. Je Sao Chanda Ugveh Suraj Chareh Hazar. Ete Chanan Hodia Gur Bin Ghor An dhar. 2. Mehla 1. Nanak Gur Na Chetni Man Apnai Suchet . Chhute Til Buar Jio Sunne Andar Khet . Khet ai Andar Chhutia Kahu Nanak Sau Nah. Falieh Fulieh Bapure Bhi Tan Vich Su-ah. 3. Pauri . Apinai Ap Sajio Apinai Rache-o Na-o. Duyi Kudrat Saji-ai Kar Asan Ditho Cha-o. Data Karta Ap Tun Tus Deveh Kareh Pasa-o. Tun Jano-i Sabhsai De Laiseh Jind Kava-o. Kar Asan Ditho Cha-o. 1.

40


2nd Har Prem Bani Man Mare-a Ani-ale Ani-a Ram Raje.

Jis Lagi Pir Piranm Ki So Janai Jari-a. Jivan Mukat So Akhi-ai Mar Jivai Mari-a.

Jan Nanak Satgur Mel Har Jag Dutar Tari-a. 2. Salok Mehla 1. Sache Tere Khand Sache Bramand. Sache Tere Loa Sache Akar. Sache Tere Karn e Sarab Bichar. Sacha Te ra Amar Sacha Diban.

Sacha Tera Hukam Sacha Furman . Sache Tud Akheh lakh Karor. Sachai Sabh Tan Sachai Sabh Jor. Sachi Teri Sifat Sachi Salah.

Sachi Teri Kudrat Sache Patsa h. Nanak Sach Dhia-in Sach.

Jo Mar Janme Su Kach Nikach. 1. Mehla 1. Vadi Vadia-i Ja Vada Na-o. Vadi Vadia-i Ja Sach Nia-o. Vadi Vadia-i Ja Nihchal Tha-o. Vadi Vadia-i Janai Ala-o.

Vadi Vadia-i Bujhai Sabh Bha-o. Vadi Vadia-i Ja Puchh Na Dat . Vadi Vadia-i Ja Ape Ap.

Nanak Kar Na Kathni Ja-e. Kita Karn a Sarb Raja-e. 2.

Mehla 2. Eh Jag Sache Ki Hai Kothri Sache Ka Vich Vas.

Ikna Hukam Sama-e La-e Ikna Hukam Kare Vinas. Ikna Bhanai Kad La-e Ikna Ma-ia Vich Nivas.

Ev Bhi Akh Na Japa-i Je Kisai Anai Ras.

Nanak Gurmukh Jan i-ai Ja Kao A p Kare Pargas. 3.

Pauri. Nanak Jia Upa-e Kai Likh Navai Dharam Bahalia. Othai Sache Hi Sach Nibrai Chun Vakh Kade Jajmalia.

Tha-o Na Pa-in Kure-ar Muh Kalai Dojak Chalia. Terai Na-e Rate Se Jin Ga-e.

Har Ga-e Se Thagan Wale-a. Likh Navai Dharam Bahalia. 2.

41


3rd Ham Murakh Mugadh Sarnagati Mil Govind Ranga Ram Raje.

Gur Purai Har Pa-e-a Har Bhagat Ik Manga.

Mera Man Tan Sabad Vigase-a Jap Anat Taranga.

Mil Sant Jana Har Pa-e-a Nanak Sat Sanga. 3.

Salok Mehla 1.

Vismad Nad Vismad Ved. Vismad Jia Vismad Bhed.

Vismad Rup Vismad Rang. Vismad Nage Fireh Jant .

Vismad Paun Vismad Pan i. Vismad Agni Khedeh Pran i.

Vismad Dharti Vismad Khan i. Vismad Sad Lageh Pran i.

Vismad Sanjog Vismad Vijog. Vismad Bhukh Vismad Bhog.

Vismad Sifat Vismad Salah. Vismad Ojhar Vismad Rah.

Vismad Nerai Vismad Dur. Vismad Dekhai Hajra Hajur.

Vekh Vidan Riha Vismad. Nanak Bhujan Purai Bhag. 1.

Mehla 1.

Kudrat Disai Kudrat Suniai Kudrat Bhao Sukh Sa r.

Kudrat Pat a li Akasi Kudrat Sarb Akar.

Kudrat Ved Puran Kateba Kudrat Sarab Vichar.

Kudrat Khan a Pin a Painhan Kudrat Sarab Piar.

Kudrat Jat i Jinsi Rangi Kudrat Jia Jahan.

Kudrat Neki-a Kudrat Badi-a Kudrat Man Abhiman.

Kudrat Paon Pan i Baisantra Kudrat Dharat i Khak.

Sabh Teri Kudrat Tu Kadar Kart a Paki Na-i Pak.

Nanak Hukmai Andar Vekhai Vart ai Tako Tak. 2.

Pauri.

Apinai Bhog Bhog Kai Ho-e Bhasmar Bhaur Sidha-ia.

Vada Ho-a Dunidar Gal Sangal Ghat Chala-ia.

Agai Karni Kirat Vachi-ai Beh Lekha Kar Samjha-ia.

Tha-o Na Hovi Paudi-i Hun Suni-ai Kia Rua-ia.

Man Andhai Janam Gava-ia. 3.

42


4th Din Da-i-al Sun Benti Har Prabh Har Ra-ia Ram Raje.

Hao Magao Saran Har Nam Ki Har Har Mukh Pa-ia. Bhagat Wachhal Har Biradh Hai Har Laj Rakha-ia.

Jan Nanak Sarnagati Har Nam Tara-ia. 4.

Salok Mehla 1. Bhai Vich Pavan Vahai Sadvao. Bhai Vich Chaleh Lakh Dari-a-o. Bhai Vich Agan Kadai Vegar. Bhai Vich Dharti Dabi Bhar.

Bhai Vich Ind Firai Sir Bhar. Bhai Vich Raja Dharam Du-ar. Bhai Vich Suraj Bhai Vich Chand. Koh Karori Chalat Na Ant .

Bhai Vich Sidh Budh Sur Nat h. Bhai Vich Adane Akas.

Bhai Vich Jodh Mahabal Sur. Bhai Vich Aveh Javeh Pur. Saglia Bhao Likhia Sir Lekh. Nanak Nirbhao Nirankar Sach Ek. 1.

Mehla 1. Nanak Nirbhao Nirankar Hor Kete Ram Raval. Ket ia Kann Kahania Kete Bed Bichar.

Ket e Nacheh Mangte Gir Mur Pureh Tal.

Ba jari Bajar Meh A-e Kadeh Bajar. Gaveh Raje Rania Boleh Al Pat al.

Lakh Takia Ke Mundre Lakh Takia Ke Har. Jit Tan Pa-i-eh Nanaka Se T an Hoveh Chhar.

Gian Na Gali-i Dhudi-ai Kat hana Karar a Sa r. Karam Milai Ta Pa-i-ai Hor Hikmat Hukam Khuar. 2.

Pauri. Nadar Kare Je Apni Ta Nadari Satgur Pa-ia.

Eh Jio Bahute Janam Bhrame-a Ta Satgur Sabad Suna-ia. Satgur Jevad Data Ko Nahi Sabh suniah Lok Saba-ia.

Satgur Mili-ai Sach Pa-ia Jinhi Vichuh Ap Gava-ia.

Jinn Sacho Sach Bujha-ia. 4.

43


5th Asa Mehla 1.

Gurmukh Dhund Dhudedia Har Sajan Ladha Ram Raje. Kanchan Ka-ia Kot Gar Vich Har Har Sidha.

Har Har Hira Ratan Hai Mera Man Tan Vidha.

Dhur Bhag Vade Har Pa-ia Nanak Ras Gudha. 1.

Salok Mehla 1. Gharia Sabhe Gopia Pahar Kann Gopal.

Gahn e Paon Pan i Baisantra Chand Suraj Avt ar. Sagli Dharti Mal Dhan Vart an Sarab Janjal.

Nanak Musai Gian Vihun i Kha-e Ga-ia Jamkal. 1.

Mehla 1. Wa-en Chele Nachan Gur. Pair Halain Feran Sir. Ud Ud Rava Jhatai Pa-e. Vekhai Lok Hasai Ghar Ja-e.

Rotia Karan Pureh Tal. Ap Pachhareh Dharti Nal. Gavan Gopia Gavan Kan. Gavan Sit a Raje Ram.

Nirbhao Nirankar Sach Nam. Ja Ka Kia Sagal Jahan.

Sevak Seveh Karam Charao. Bhinni Rain Jina Man Chao. Sikhi Sikhia Gur Vichar. Nadari Karam Lagha-e Par.

Kolu Charkha Chaki Chak. Thal Varole Bahut Anant. Latu Madhania Angah. Pankhi Bhaodi-a Lain Na Sah.

Su-ai Char Bhava -i-ah Jant. Nanak Bhaodia Ganat Na Ant . Bandhan Band Bhava-e So-e. Pai-ai Kirat Nachai Sabh Ko-e.

Nach Nach Haseh Chaleh Se Ro-e. Od Na Jahi Sidh Na Hohe.

Nachan Kudan Man Ka Chao. Nanak Jin Man Bhao Tina Man Bhao. 2.

Pauri. Nao Tera Nirankar Hai Na-e Lai-ai Narak Na Ja-i-ai. Jio Pind Sabh Tis Da De Khajai Akh Gava-i-ai.

Je Lorah Changa Apna Kar Punnhu Nich Sada-i-ai.

Je Jarvana Parharai Jar Ves Karedi A-i-ai.

Ko Rahai Na Bhari-ai Pa-i-ai. 5.

44


6th

Panth Dasava Nit Khari Mundh Joban Bali Ram Raje.

Har Har Nam Cheta-e Gur Har Marag Chali.

Merai Man Tan Nam Adhar Hai Haomai Bikh Jali.

Jan Nanak Satgur Mel Har Har Mili-a Banvali.

Salok Mehla 1.

Musalmana Sifat Sariat Par Par Kareh Bicha r.

Bande Se Ji Paveh Vich Bandi Vekhan Kao Didar.

Hindu Salahi Sa lahan Darsan Rup Apar.

Tirat h Naveh Archa Puja Agar Vas Bahkar.

Jogi Sun Dhi-avan Jete Alakh Nam Kartar.

Sukham Murat Nam Niranjan Ka-ia Ka Akar.

Satia Man Santokh Opjai Denai Kai Vichar.

De De Mangeh Sehsa Guna Sobh Kare Sansar.

Chora Jara Tai Kuri-ara Kha raba Vekar.

Ik Hoda Kha-e Chaleh Aithao Tina Bhi Kai Kar.

Jal Thal Jiya Puria Loa Akara Akar.

O-e Ji Akheh So Tunhai Janeh Tina Bhi Sar.

Nanak Bhagat a Bhukh Salahan Sach Nam Adhar.

Sada Anand Raheh D in Rat i Gun vant i-a Pa Chhar. 1.

Mehla 1.

Miti Musalman Ki Perai Pai Kumi-ar.

Ghar Bhande Ita Kia Jaldi Kare Pukar.

Jal Jal Rovai Bapur i Jhar Jhar Paveh Angi-ar.

Nanak Jin Kartai Karan Kia So Janai Kartar.

Pauri.

Bin Satgur Kinai Na Paio Bin Satgur Kinai Na Pa-ia.

Satgur Vich Ap Rakhion Kar Pargat Akh Suna-ia.

Satgur Miliai Sada Mukat Hai Jini Vichuh Moh Chuka-ia.

Otam Eh Bichar Hai Jini Sache Sio Chit La-ia.

Jag Jivan Data Pa-ia. 6.

45


7th

Gurmukh Piare A-e Mil Mai Chiri Wichhunne Ram Raje.

Mera Man Tan Bahut Bairagia Har Nain Ras Bhinne.

Mai Har Prabh Piara Das Gur Mil Har Man Manne.

Hao Murakh Kare La-i-a Nanak Har Kanme. 3.

Salok Mehla 1.

Hao Vich A-ia Hao Vich Ga-ia. Hao Vich Janmia Hao Vich Mu-a.

Hao Vich Dit a Hao Vich La-ia. Hao Vich Khatia Hao Vich Ga-ia.

Hao Vich Sachiar Kuriar. Hao Vich Pap Punn Vichar.

Hao Vich Narak Surag Avt ar. Hao Vich Haseh Hao Vich Rovai.

Hao Vich Bhari-ai Hao Vich Dhovai. Hao Vich Jati Jinsi Khovai.

Hao Vich Murakh Hao Vich Siana. Mokh Mukat Ki Sar Na Jan a.

Hao Vich Ma-ia Hao Vich Chha-ia. Haomai Kar Kar Jant Upa-ia.

Haomai Bujhai T a Dar Sujhai. Gian Vihuna Kat h Kat h Lujhai.

Nanak Hukami Likhi-ai Lekh. Jeha Vekheh Teha Vekh. 1.

Mehla 2.

Haomai Eha Jat Hai Haomai Karam Kamah.

Haomai Ehi Bandhana Fir Fir Joni Pa-e.

Haomai Kithoh Upjai Kit Sanjam Eh Ja-e.

Haomai Eho Hukam Hai Pa-i-ai Kirat Firahe.

Haomai Diragh Rog Hai Daru Bhi Is Mahe.

Kirpa Kare Je Apni Ta Gur Ka Sabad Kamah.

Nanak Kahe Sunhu Janhu It Sanjam Dukh Jahe. 2.

Pauri.

Sev Kiti Santokhi-i Jinhi Sacho Sach Dhia-ia.

Onhi Mandai Pair Na Raikhio Kar Suikrit Dharam Kama-ia.

Onhi Duni-a Torai Bandhna Ann Pani Thora Kha-ia.

Ton Bakhsisi Agla Nit Deveh Chareh Sava-ia.

Wadia-i Wada Pa-ia. 7.

46


8th

Gur Anmrit Bhinni Dehuri Anmrit Burky Ram Raje.

Jina Gurbani Man Bha-i-a Anmrit Chhak Chhake.

Gur Tuthai Har Pa-ia Chuke Dhak Dhake.

Har Jan Har Har Hoia Nanak Har Ike. 4.

Salok Mehla 1.

Purkhan Birkhan Tirthan Tatan Meghan Khetanah.

Dipan Lohan Mandalan Khandan Warbhandan.

Andaj Jeraj Utbhujan Khan i Setajhanah.

So Mit Janai Nanaka Saran Meran Jant ah.

Nanak Jant Upa-e Kai Sanmale Sabhnah.

Jin Kartai Karn a Kia Chint a Bhi Karn i Tah.

So Kart a Chinta Kare Jin Upa-ia Jag.

Tis Johari Suast T is Tis Diban Abhag.

Nanak Sache Nam Bin Kia Tika Kia T ag. 1.

Mehla 1.

Lakh Nekia Changia-ia Lakh Punna Parvan .

Lakh Tap Upar Tirthan Sahaj Jog Beban.

Lakh Surt an Sangram Ran Mah Chhuteh Pran .

Jin Kartai Karna Kia Likhia Avan Jan.

Nanak Mati Mithia Karam Sacha Nisan. 2.

Pauri.

Sacha Sahib Ek Tun Jin Sacho Sach Warta-ia.

Jis Tun Deh Tis Milai Sach Ta Tinhi Sach Kama-ia.

Satgur Miliai Sach Pa-ia Jin Kai Hirdai Sach Wasa-ia.

Murakh Sach Na Janni Manmukhi Janam Gava-ia.

Wich Duni-a Kahe A-ia. 8

47


9th

Har Anmrit Bhagat Bhandar Hai Gur Satgur Pase Ram Raje.

Gur Satgur Sacha Sahu Hai Sikh De-e Har Rase. Dhan Dhann Wanjara Vanaj Hai Gur Sahu Sabase.

Jan Nanak Gur Tinhi Pa-ia Jin Dhur Likhat Lilat Likhase. 1. Salok Mehla 1. Par Par Gadi Ladiah Par Par Bhari-ah Sath.

Par Par Beri Pa-i-ai Par Par Gadi-ah Khat .

Pari-ah Jete Baras Baras Par iah Jete Mas. Pari-ai Jeti Araja Par iah Jete Sa s.

Nanak Lekhai Ik Gal Hor Haomai Jhakhn a Jhakh. 1. Mehla 1. Likh Likh Paria. Teta Karia . Bahu Tira th Bhavia. Teto Lavia.

Bahu Bhekh Kia Dehi Dukh Dia. Sahu Ve Jia Apn a Kia.

Ann Na Kha-ia Sad Gava-ia. Bahu Dukh Pa-ia Duja Bha-ia.

Bastra Na Paharai. Ahnis Kaharai. Mon Wigut a. Kio Jagai Gur Bin Sut a.

Pag Upetan a. Apna Kia Kaman a. Al Mal Kha-i Sir Chha-i Pa-i.

Murakh Andai Pat Gava-i. Vin Navai Kichh Tha-i Na Pa-i.

Rahai Bebani Mar i Masan i. Andh Na Janai Fir Pachut an i. Satgur Bhete So Sukh Pa-e.

Har Ka Nam Mann Wasa-i. Nanak Nadar Kare So Pa-i.

As Andese Te Nihkeval Haomai Sabad Jala-e. 2. Pauri . Bhagat Terai Man Bhavde Dar Sohan Kirat Gavde.

Nanak Karma Bahare D ar Doa Na Lahanhi Dhavade. Ik Mul Na Bhujhan Apan a An hoda Ap Gana-ede.

Hao Dhadi Ka Nich Jat Hor Utam Jat Sada-ede. Tin Manga Ji Tujhai Dhia-ede. 9.

48


10th

Sach Sahu Hamara Tu Dhani Sabh Jagat Vanjara Ram Raje. Sabh Bhande Tudhai Sajia Vich Vast Har Thara.

Jo Paveh Bhande Vich Vast Sa Niklai Kia Ko-i Kare Vechara. Jan Nanak Kao Har Bakhsia Har Bhagat Bhandara.

Salok Mehla 1. Kur Raja Kur Parja Kur Sabh Sansar. Kur Mandap Kur Ma ri Kur Baisan har. Kur Soin a Kur Rupa Kur Painanhar. Kur Ka-ia Kur Kapar Kur Rup Apar. Kur Mia Kur Bibi Khap Ho-e Khar. Kur Kurai Nehu Laga Wisria Kartar. Kis Nal Kichai Dost i Sabh Jag Chalan har. Kur Mitha Kur Makhio Kur Dobe Pur. Nanak Wakhan ai Benti Tudh Bajh Kuro Kur. 1. Mehla 1. Sach Ta Par Jani-ai Ja Ridai Sacha Ho-e. Kur Ki Mal Ut rai T an Kare Hachha Dho-e. Sach Ta Par Jani-ai Ja Sach Dhare Piar. Nao Sun Man Rahsi-ai Ta Pa-e Mokh Duar. Sach Ta Par Jani-ai Jugat Janai Jio. Dharat Ka-ia Sadh Kai Wich De Kart a Bio. Sach Ta Par Jani-ai Ja Sikh Sachi Leh. Da-ia Janai Ji-a Ki Kichh Punn Dan Kareh. Sach Ta Par Jani-ai Ja At am Tirat h Kare Nivas. Satguru No Puchh Kai Bah Rahai Kare Nivas. Sach Sabhna Ho-e Daru Pap Kadai Dho-e. Nanak Wakhan ai Benti Jin Sach Palai Ho-e. 2. Pauri. Dan Mahinda Tali Khak Je Milai Ta Mastak Laiai. Kura Lalach Chhadi-ai Ho-e Ik Man Alakh Dhiai-ai. Fal Teveho Pa-i-ai Jevehi Kar Kamai. Je Hovai Purab Likhia Ta Dhur Tina Di Pa-i-ai. Mat Thori Sev Gava-i-ai. 10.

49


11th

Ham Kia Gun Tere Vithrah Suami Tun Apar Aparo Ram Raje. Har Nam Salaheh Din Rat Eha As Adharo.

Ham Murakh Kichhua Na Janha Kiv Pavah Paro. Jan Nanak Har Ka Das Hai Har Das Paniharo.

Salok Mehla 1. Sach Kal Kur Wartia Kal Kalakh Bet al. Bio Bij Pat Lai Ga-e Ab Kio Ugvai Dal. Je ik Ho-e Ta Ugavai Rut i Hu Rut Ho-e. Nanak Pahai Bahra Kori Rang Na Soi. Bhai Wich Khunbh Charai-ai Saram Pah Tan Ho-e. Nanak Bhagti Je Rapai Kur ai So-e Na Ko-e. 1. Mehla 1. Lab Pap Do-e Raja Mehta Kur Hoa Sikdar. Kam Neb Sad Puchhi-ai Bah Bah Kare Bichar. Andhi Rayat Gian Wihuni Bhah Bhare Murdar. Giani Nachah Waje Wavah Rup Karah Sigar. Uche Kukeh Wada Gaveh Jodha Ka Wichar. Murakh Pandit Hikmat Hujat Sanjai Kare Piar. Dharmi Dharam Kareh Gavaveh Mangeh Mokh Duar. Jati Sadaveh Jugat Na Janeh Chhad Baheh Ghar Bar. Sabh Ko Pura Ape Ho-e Ghat Na Ko-i Akhai. Pat Parvan a Pichai Pa-i-ai Ta Nanak Tolia Japa-i. 2. Mehla 1. Vadi Su Wajag Nanaka Sacha Wekhai So-e. Sabhni Chhalaan Maria Kart a Kare Su Ho-e. Agai Jat Na Jor Hai Agai Jio Nave. Jin Ki Lekhai Pat Pavai Change Se-i Ke-i. 3. Pauri . Dhur Karam Jina Kao Tudh Pa-ia Ta Tini Khasam Dhia-ia. Ena Janta Kai Vas Kichh Nahi Tudh Veki Jagat Upa-ia. Ikna No Tun Mel Laih Ik Aphu Tudh Khua-ia. Gur Kirpa Te Jania Jithai Tudh Ap Bujha-ia. Sahje Hi Sach Sama-ia. 11.

50


12th

Jio Bhavai Tio Rakh Lai Ham Saran Prabh A-e Ram Raje. Ham Bhul Vigarah Dinas Rat Har Laj Rakha-e. Ham Barik Tun Gur Pita Hai De Mat Samjha-e. Jan Nanak Das Har Kandia Har Paij Rakha-e.

Saloke Mehla 1. Dhukh Daru Sukh Rog Bha-ia Ja Sukh Tam Na Ho-i. Tun Karta Karn a Mai Nahi Ja Hao Kari Na Ho-i. 1. Balihari Kudrat Wasia . Tera Ant Na Jai Lakhia. 1. Rahao. Jat Meh Jot Jot Meh Jata Akal Kala Bharpur Rahia. Tun Sacha Sahib Sifat Sua lio Jin Kiti So Par Pa-ia. Kahu Nanak Karte Kia Bat a Jo Kichh Karna Su Kar Rahia. 2. Mehla 2. Jog Sabadan Gian Sabadan Bed Sabadan Brahmnah. Khat ri Sabadan Sur Sabad an Sudra sabadan Pra Kirteh. Sarab Sabadan Ek Sabad an Je Ko Janai Bhe-o. Nanak Ta Ka Das Hai Soi Niranjan De-o. 3. Mehla 2. Ek Krishnan Sarab Deva Dev Deva T a At ma. At ma Basdevas Je Ko Jane Bhe-o. Nanak Ta Ka Das Hai Soi Niranjan De-o. 4. Mehla 1. Kumbhe Badha Jal Rahai Jal Bin Kunbh Na Ho-e. Gian Ka Badha Man Rahai Gur Bin Gian Na Ho-e. 5. Pauri. Paria Hovai Gunahgar Ta Omi Sadh Na Mari-ai. Jeha Ghale Ghalna Teveho Nao Pachari-ai. Aisi Kala Na Khedi-ai Jit Dargah Ga-ia Hari-ai. Paria Atai Omi-a Vichar Agai Vichari-ai. Muh Chalai Su Agai Mari-ai. 12.

51


13th Jin Mastak Dhur Har Likhia Tina Satgur Milia Ram Raje.

Agian Andera Katia Gur Gian Ghat Balia. Har Ladha Rat an Padart ho Fir Bahur Na Chalia.

Jan Nanak Nam Aradhia Aradh Har Milia.

Salok Mehla 1. Nanak Mer Sarir Ka Ik Rat h Ik Rat hvah. Jug Jug Fer Wta-i-ah Giani Bujheh Tah.

Satjug Rat h Sant okh Ka Dharam Agai Rat hvah. Tret ai Rat h Jatai Ka Jor Agai R at hvah.

Duapar Rat h Tapai Ka Sat Agai Rat hvah.

Kaljug Rat h Agan Ka Kur Agai Rat hvah. 1.

Mehla 1. Sam Kahai Setanbar Suami Sach Meh Achhai Sach Rahe.

Sabh Ko Sach Samavai. Rig Kahai Rahia Bharpur. Ram Nam Deva Meh Sur.

Na-e La-i-ai Prachhat Ja he. Nanak Tao Mokhantar Pahe.

Juj Meh Jor Chhali Chandraval Kanh Krisan Jadam Bha-ia. Parjat Gopi Lai A-ia Bindraban Meh Rang Kia.

Kal Meh Bed At harban Hu-a Nao Khuda-i Aluh Bha-ia. Nil Bast ra Le Kapre Pehre T urk Pathan i Amal Kia.

Chare Ved Ho-e Sachiar. Pareh Gun eh Tin Char Vichar. Bhao Bhagat Kar Nich Sada-e. Tao Nanak Mokhantar Pa-e. 2.

Pauri. Satgur Wituh Waria Jit Miliai Khasam Samalia.

Jin Kar Updes Gian Anjan Di-a Inhi Net ri Jagat Nihalia. Khasam Chhor Dujai Lage Dube Se Van jaria.

Satgur Hai Bohit ha Wirlai Kinai Vicharia.

Kar Kirpa Par Ut aria. 13.

52


14th

Jini Aisa Har Nam Na Chetio Se Kahe Jag Aye Ram Raje. Eh Manas Janam Dulnbh Hai Nam Bina Birtha Sabh Ja-e.

Hun Vat ai Har Nam Na Bijio Agai Bukha Kia Kha -e.

Manmukha No Fir Janam Hai Nanak Har Bha-e. Salok Mehla 1. Simal Rukh Saraira At Diragh At Much.

O-e Je Aveh As Kar Jahe Nirase Kit . Fal Fike ful Bakbake Kanm Na Aveh Pat .

Mithat Nivi Nanaka Gun Changia-i-a Tat . Sabh Ko Nive Ap Ko Par Ko Nive Na Ko-e.

Dhar Taraju Toli-ai Nivai Su Gaora Ho-e. Apradhi Dun a Nivai Jo Hanta Mirgahe.

Sis Niva-i-ai Kia Thi-ai Ridai Kusudhe Jahe. 1. Mehla 1. Par Pustak Sandhia Badan.

Sil Pujas Bagal Samadan. Mukh Jhuth Bibhukhan Saran.

Traipal Tihal Bicharan. Gal Mala T ilak Lilatan.

Do-e Dhot i Bast ra Kapatan.

Je Janas Brahman Karamn.

Sabh Fokat Nischao Karman.

Kahu Nanak Nihchao Dhia-vai. Vin Satgur Wat Na Pavai. 2. Pauri. Kapar Rup Suhavana Chhad Duni-a Andar Javn a.

Manda Changa Apn a Ape Hi Kita Pavana. Hukam Kie Man Bhavade Rah Bhirai Agai Javn a.

Nanga Dojak Chalia T a Disai Khara Daravan a.

Kar Augan Pachhot avan a. 14.

53


15th

Tu Har Tera Sabh Ko Sabh Tudh Upa-e Ram Raje. Kichh Hat h Kisai Dai Kichh Nahi Sabh Chaleh Chala-e. Jin T un Meleh Piare Se T udh Mileh Jo Har Man Bha-e.

Jan Nanak Sat gur Bhetia Har Nam Tara-e. Salok Mehla 1. Da-ia Kapah Santokh Sut Jat Gandhi Sat Wat. Eh Janeu Jia Ka Ha-i Ta Pande Ghat . Na Eh Tutai Na Mal Lagai Na Eh Jalai Na Ja-e. Dhan Su Manas Nanaka Jo Gal Chale Pa-e. Chaokar Mul An a-ia Beh Chaukai Pa-ia. Sikha Kann Chara-i-a Gur Brahman Thia. Oh Mu-a Oh Jhar Pa-ia Wet aga Ga-ia. 1. Mehla 1. Lakh Choria Lakh Jaria Lakh Kuri-a Lakh Gal. Lakh Thagia Pehnami-a Rat Dinas Ji-a Nal. Tag Kapahahu Kat i-ai Baman Vate A-e. Kuhe Bakra Rinh Khai-a Sabh Ko Akhai Pa-e. Ho-e Puran a Suti-ai Bhi Fir Pa-i-ai Hor. Nanak Tag Na Tut-i Je Tag Hovai Jor. 2. Mehla 1. Na-e Manni-ai Pat Upjai Salahi Sach Sut . Dargeh Andar Pa-i-ai Tag Na Tutas Put . 3. Mehla 1. Tag Na Indri Tag Na Nari. Bhalke Thuk Pavai Nit Dari. Tag Na Pairi T ag Na Hathi. Tag Na Jehva T ag Na Akhi. Wet aga Ape Watai. Wat Dhage Avra Ghat ai. Lai Bhar Kare Viahu. Kad Kagal Dase Rah. Sun Wekhuh Loka Ehu Widan . Man Andha Nao Sujan. 4. Pauri. Sahib Ho-e Da-ial Kirpa Kare Ta Sa-i Kar Kara-esi. So Sevak Seva Kare Jis No Hukam Mana-esi. Hukam Manniai Hovai Parvan Ta Khasamai Ka Mahal Pa-esi. Khasmai Bhavai So Kare Manhu Chindia So Fal Pa-esi. Ta Dargag Ka Mahal Pa-esi. 15.

54


16th

Ko-i Gavai Ragi Nadi Bedi Bahu Bhant Kar

Nahi Har Har Bhijai Ram Raje. Jina Antar Kapat Vikar Hai T ina Ro-e Kia Kijai.

Har Kart a Sabh Kichh Jan da Sir Rog Hat h Dijai.

Jina Nanak Gurmukh Hird a Sudh Hai Har Bhagat Har Lijai.

Salok Mehla 1. Gau Birahman Kao Kar Lavhu Gobar Taran Na Ja -i.

Dhot i Tika Tai Japmali Dhan Malechhan Kha-i. Ant ar Puja Pareh Kateba Sanjam Turka Bha-i.

Chhodile Pakhanda. Nam La-i-ai Ja-e Tranda. 1.

Mehla 1. Manas Khane Kareh Nivaj. Chhuri Waga-i-n Tin Gal Tag. Tin Ghar Brahman Pureh Nad.

Una Bhi Aveh O-i Sad. Kuri Ras Kura Wapar. Kur Bol Kareh Ahar.

Saram Dharam Ka Dera Dur. Nanak Kur Rahi-a Bharpur.

Mathai Tika Ter Dhot i Kakha-i. Hath Chhuri Jagat Kasa-i. Nil Wastra Pehar Hoveh Parvan . Malechh Dhan Le Pujeh Puran.

Abhakhia Ka Kutha Bakra Khan a. Chauke Upar Kisai Na Jana. De Kai Chaoka Kadi Kar. Opar A-e Baithhe Kuri-a r.

Mat Bhitai Ve Mat Bhitai. Eh Ann Asada Fitai. Tan Fitai Fer Karen. Man Juthai Chuli Bharen.

Kahu Nanak Sach Dhia-i-ai. Such Hovai Ta Sach Pa-i-ai. 2.

Pauri. Chitai Andar Sabh Ko Vekh Nadari Hethh Chala-eda. Ape D e Wadia-i-a Ape Hi Karam Kara-eda.

Waduh Wada Wad Medni Sire Sir Dhandhai Laida.

Nadar Upathhi Je Kare Sult ana Ghao Karaida.

Dar Mangan Bhikh Na Paida. 16.

55


17th

Jin Antar Har Har Prit Hai Te Jan Sughar Siane Ram Raje.

Je Bahruh Bhul Chuk Bolde Bhi Khare Har Bhan e.

Har Santa No Hor Thao Nahi Har Man Niman e.

Jan Nanak Nam D iban Hai Har Tan Sat ane.

Salok Mehla 1.

Je Mohaka Ghar Muhai Ghar Muhe Pit ri De-a.

Agai Vasat Sinani-ai Pitri Chor Kare-a.

Wadi-ah Hath Dalal Ke Musfi Eh Kare-a.

Nanak Agai So Milai Je Khate Ghale De-a. 1.

Mehla 1.

Jio Joru Sirnavni Avai Varo Var.

Juthe Jutha Mukh Wasai Nit Nit Ho-e Khuar.

Suche Eh Na Akhi-ah Bahan Ji Pinda Dho-e.

Suche Se-i Nanaka Jin Man Wasia So-e. 2.

Pauri.

Ture Plane Pa-on Weg Har Rangi Haram Savari-a.

Kothe Mandap Mar i-a La-e Baithhe Kar Pasari-a.

Chij Karan Man Bhavade Har Bhujhan Nahi Hari-a.

Kar Furma-is Kha-ia Wekh Mahlat Maran Wisaria.

Jar A-i Joban Hari-a. 17.

56


18th

Jithai Ja-e Bahai Mera Satguru So Than Suhava Ram Raje.

Gursikhin So Than Bhalia Lai Dhur Mukh Lava. Gursikha Ki Ghal Tha-e Pa-i Jin Har Nam D hiava..

Jin Nanak Sat gur Pujia T in Har Puj Karava.

Salok Mehla 1. Je Kar Sutak Manni-ai Sabh Tai Suak Ho-e. Gohe At ai Lakri Andar Kira Ho-e.

Jete Dan e Ann Ke Ji-a Bajh Na Ko-e. Pehla Pani Ji-o Hai Jit Har-ia Sabh Ko-e.

Sut ak Kio Kar Rakhi-ai Sut ak Pavai Raso-e.

Nanak Sut ak Ev Na Ut rai Gian Utare Dho-e. 1.

Mehla 1. Man Ka Sutak Lobh Hai Jehva Sut ak Kur.

Kanni Sutak Kann Pai La -et bari Kha-e. Nanak Hansa Admi Badhe Jam Pur Jahe. 2.

Mehla 1. Sabho Sutak Bharam Hai Dujai Lagai Ja-e.

Janman Marn a Hukam Hai Bhanai Avai Ja-e. Khan a Pina Pavit ra Hai Dit on Rijak Sanbahe.

Nanak Jini Sutak Bujh-ia Tina Sutak Nahe. 3.

Pauri. Satgur Wada Kar Salahi-ai Jis Wich Wadi -a Wadia-i-a.

Sah Mele Ta Nadari A-i-a.

Ja Tis Bhana Ta Man Wasa-i-a. Kar Hukam Mastak Hath Dhar Vichuh Mar Kadi-a Buria-i-a.

Sah Tuthhai Nau Nidh Pa-i-a. 18.

57


19th

Gursikha Man Har Prit Hai Har Nam Har Teri Ram Raje. Kar Sevah Pura Sat guru Bhukh Ja-e Lah Meri.

Gursikha Ki Bhukh Sabh Ga-i Tin Pichhai Hor Kha-e Ghaneri. Jan Nanak Har Punn Bijia Fir T ot Na Avai Har Punn Keri.

Salok Mehla 1. Pehla Sucha Ap Ho-e Suchai Baithha A-e. Suche Agai Rakhion Ko-e Na Bhitio Ja-e. Sucha Ho-e Kai Jevi-a Laga Paran Salok. Kuhathi Ja-i Satia Kis Eh Laga Dokh. Ann Devta Pani Devta Baisantar Devta Lun Panjva Pa-ia Ghirat. Ta Ho-a Pak Pavit. Papi Sio Tan Gadia Thuka Pa-i-a Tit. Jit Mukh Nam Na Ochreh Bin Navai Ras Khahe. Nanak Evai JanI-ai Tit Mukh Thuka Pahe. 1. Mehla 1. Bhand Janmi-ai Bhand Nimi-ai Bhand Mangan Vi-ahu. Bhandahu Hovai Dosti Bhandahu Chalai Rahu. Bhand Mu-a Bhand Bhali-ai Bhand Hovai Bandan. So Kio Manda Akhi-ai Jit Janmeh Rajan. Bhandhu Hi Bhand Opjai Bhandai Bajh Na Ko-e. Nanak Bhandai Bahara Eko Sacha So-e. Jit Mukh Sada Salahi-ai Bhaga Rati Char. Nanak Te Mukh Ujle Tit Sachai Darbar. 2. Pauri. Sabh Ko Akhai Apana Jis Nahi So Chun Kadi -ai. Kit a Apo Apana Ape Hi Lekha Sandi-ai. Ja Rahna Nahi Ait Jag Ta Kait Garab Handi-ai. Manda Kisai Na Akhi-ai Par Akhar Eho Bhujhi-ai. Murakhai Nal Na Lujhi-ai. 19.

58


20th

Gursikhan Man Wadha-i-a Jin Mera Satgur Dithha Ram Raje.

Ko-i Kar Gal Sun avai Har Nam Ki So Lagai Gursikha Man Mithha.

Har Dargah Gursikh Paina-i-ah Jinha Mera Sat gur Tutha.

Jan Har Har Ho-a Har Har Man Wutha.

Salok Mehla 1.

Nanak Fikai Boli-ai Tan Man Fika Ho-e.

Fiko Fika Sad i-ai Fike Fiki So-e.

Fika Dargeh Sati-ai Muh Thuka Fike Pa-e.

Fika Murakh Akhi-ai Pana Lahai Saja-e. 1.

Mehla 1.

Andruh Jhuthe Paij Bahar Duni-a Andar Fail.

Athsath Tirt h Je Naveh Ut rai Nahi Mail.

Jin Pat Andar Bahar Gudar Te Bhale Sansar.

Tin Nehu Laga Rab Seti Dekhne Vichar.

Rang Haseh Rang Roveh Chup Bhi Kar Jahe.

Parvah Nahi Kisai Keri Bajh Sache Nah.

Dar Wat Opar Kharach Manga Jabai D e-e Ta Khahe.

Diban Eko Kalam Eka Hama Tuma Mel.

Dar La-e Lekha Pir Chhutai Nanaka Jio Tel. 2.

Pauri.

Ape Hi Karana Kio Kal Ape Hi Te Dhari-ai.

Dekhan Kit a Apana Dhar Kachhi Paki Sari-ai.

Jo A-ia So Chalsi Sabh Ko Hi A-i Wari-ai.

Jis Ke Jia Pran Heh Kio Sahib Manuh Wisa-ai.

Apan Hathi Apn a Ape Hi Kaj Savari-ai. 20.

59


21st

Jinha Bhetia Mera Pura Sat guru Tin Har Nam Drir avai Ram Raje.

Tis Ki Trisna Bhukh Sabh Ut rai Jo Har Nam Dhi-avai.

Jo Har Har Nam Dhia-ede Tinh Jam Ner Na Avai.

Jan Nanak Kao Har Kirpa Kar Nit Japai Har Nam Har Nam T aravai.

Salok Mehla 1.

Eh Kinehi Aski Dujai Lagai Ja-e.

Nanak Asak Kandi-ai Sad Hi Rahai Sama-e.

Change Changa Kar Mannai Mand ai Manda Ho-e.

Asak Eh Na Akhi-ai Ji Lekhai Wart ai So-e. 1.

Mehla 2.

Salam Jabab Dovai Kare Munduh Ghut ha Ja-e.

Nanak Dovai Kur i-a Tha-e Na Ka-i Pa-e.

Pauri.

Jit Sevi-ai Sukh Pa-i-ai So Sahib Sada Samali-ai.

Jit Kit a Pa-i-ai Apna Sa Ghal Buri Kio Ghali-ai.

Manda Mul Na Kicha-i De Lanmi Nad ar Nihali-ai.

Jio Sahib Nal Na Hari-ai Teveha Pasa Dhali-ai.

Kichh Lahe Upar Ghali-ai. 21.

60


22nd

Jini Gurmukh Nam Dhia-ia Tina Fir Bighan Na Ho-i Ram Raje. Jini Satgur Purakh Mana-ia Tin Puje Sabh Ko-i. Jinhi Satgur Pia ra Sevia Tinha Sukh Sad Ho-i. Jinha Nanak Satgur Bhetia Tinha Milia Har So-i. Mehla 1. Chakar Lagai Chakri Nale Garab Wad. Gala Kare Ghaneria Khasam Na Pa-e Sad. Ap Gava-e Seva Kare Ta Kichh Pa-e Man. Nanak Jis No Laga Tis Milai Laga So Parvan. 1. Mehla 2. Jo Ji-e Ho-e Su Ogvai Muh Ka Kahi-a Wa-o. Bije Bikh Mangai Anmrit Wekhuh Ehu Nia-o. 2. Mehla 2. Nal Iane Dosti Kade Na Avai Ras. Jeha Janai Teho Wartai Wekhuh Ko Nirjas. Wastu And ar Wast Samavai Duji Hovai Pas. Sahib Seti Hukam Na Chalai Kahi Banai Ardas. Kur Kamanai Kuro Hovai Nanak Sifat Wigas. 3. Mehla 2. Nal Iane Dosti Wadaru Sio Nehu. Pani And ar Lik Jio Tis Da Tha-o Na Thehu. 4. Mehla 2. Ho-e Iana Kare Kanm An Na Sakai Ras. Je Ik Adh Changi Kare Duji Bhi Weras. 5. Pauri. Chakar Lagai Chakari Je Chalai Khasmai Bha-e. Hurmat Tis No Agli Oh Vajahu Bhi Duna Kha-e. Khasmai Kare Barabri Fir Gairat Andar Pa-e. Wajuh Gava-e Agla Muhe Muh Pana Kha-e. Jis Da Dita Khavna Tis Kahi-ai Sabas. Nanak Hukam Na Chala-i Nal Khasam Chalai Ardas. 22.

61


23rd

Jinha Antar Gurmukh Prit Hai Tin Har Rakhanhara Ram Raje.

Tinh Ki Ninda Ko-i Ki-a Kare Jinh Har Nam Piara.

Jin Har Seti Man Maria Sabh Dushat Jhakh Mara.

Jan Nanak Nam Dhia-ia Har Rakhanhara.

Salok Mehla 2.

Eh Kinehi Dat Apas Te Jo Pa-i-ai.

Nanak Sa Karamat Sahib T uthai Jo Milai. 1.

Mehla 2.

Eh Kinehi Chakari Jit Bhao Khasam Na Ja-e.

Nanak Sevak Kadi-ai Ji Seti Khasam Sama-e. 2.

Pauri.

Nanak Ant Na Japnhi Har Ta Ke Paravar.

Ap Kara-e Sakht i Fir Ap Kara-e Mar.

Iknha Gali Janjiri-a Ik Turi Charah Bisi-ar.

Ap Kara-e Kare Ap Hao Kai Sio Kari Pukar.

Nanak Karn a Jin Ki-a Fir Tis Hi Karan i Sar. 23.

62


24th

Har Jug Jug Bhagat Upa-ia Paij Rakhda A-ia Ram Raje.

Harn akhas Dusht Har Maria Prahlad Tara-ia.

Ahankaria Nind ka Pith De Nam D e-o Mukh La-ia.

Jan Nanak Aisa Har Sevia Ant La-e Chhada-ia.

Salok Mehla 1.

Ape Bhande Sajian Ape Puran De-a.

Ikni Dudh Sama-i.ai Ik Chulai Rahan Char e.

Ik Nihali Pai Savan Ik Opar Rahan Khar e.

Tina Savare Nanaka Jin Ko Nad ar Kare. 1.

Mehla 2.

Ape Saje Kare Ap Ja-i Bhi Rakhai Ap.

Tis Wich Jant Opa-e Kai Dekhai T hap Othap.

Kis No Kahi-ai Nanaka Sabh Kichh Ape Ap. 2.

Pauri.

Wade Ki-a Wadia-i-a Kichh Kahana Kahan Na Ja-e.

So Karta Kadar Karim De Ji-a Rijak Sanbah.

Sa-i Kar Kamavni Dhur Chhodi Tinnai Pa-e.

Nanak Eki bahri Hor Duji Nahi Ja-e.

So Kare Je Tise Raja-e. 24.

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