Musical Framework Amardeep Singh MSS

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Information about Musical Framework Amardeep Singh MSS
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Published on April 7, 2009

Author: manpreet.singh

Source: authorstream.com

Slide1:  Amardeep Singh – Vice President - Japan/Asia/ Pacific (Head of Merchant Pricing) This presentation is the creation of Doon School, Engineer, MBA University of Chicago : amardeepsinghranghar@yahoo.com.sg I have only added some:  I have only added some Salt Pepper Slide3:  UNDERSTANDING THE MUSICAL & SHABAD FRAMEWORK OF SRI GURU GRANTH SAHIB JI (1075-19, mwrU, mÚ 5) kljug mih kIrqnu prDwnw ] kaljug meh keertan parDhaanaa. In this Dark Age of Kali Yuga, the Kirtan of Guru jee’s Praises are most sublime and exalted. gurmuiK jpIAY lwie iDAwnw ] gurmukh japee-ai laa-ay Dhi-aanaa. Become Gurmukh, chant and focus your meditation. TRYING TO FOLLOW Saranda Dilruba Slide4:  QUESTION Whom are we to do the keertan for ? Sangat or Guru/God Slide5:  ???????????? Raag Sarang A Glimpse of Keertan in Filmy Style & Raag Slide6:  SHABAD LAYOUT Sri Guru Granth Sahib Ji Introduction Shabads in 31Main Raags Epilogue Japji So Dar So Purakh Sohila Sloks in excess of Vaars Mundavani Raag Mala Sri Raag 28 more Raags Parbhati Raag Jaijawanti Raag Chaupada Ashtpadi Chhant Longer Works Vaars Bhagat Bani Mahala 1 Mahala 2 Mahala 4 Mahala 3 Mahala 5 Mahala 9 Slide7:  Why is that the Gurus chose Raags to classify Gurbani? What is the relation between Shabad and Raag? Do we need the aid of filmi or experimental music? What impact will experimentation have on our future generations? What about experimentation with vastness of Raags/Taals prescribed by Gurus? SOME BASIC QUESTIONS Slide8:  TIMING OF RAAGS Human emotions change in the daily time cycle and Raags complement these feelings. SEASONALITY OF RAAGS Some Raags are associated with seasons which complement feelings. Basant Raag can be sung at any time in Basant Season. Malar Raag can be sung at any time in Rainy Season. Raags Slide9:  Hook Line Sinker Guru Ji Human Soul Our Guru ji developed a unique presentation format (No other scripture uses Rahau as fulcrum), You may say that our Guru ji is a GREAT FISHERMAN!!!!! SHABAD STRUCTURE Slide10:  rwgu goNf bwxI Bgqw kI ] kbIr jI Gru 1 <> siqgur pRswid ] sMqu imlY, ikCu sunIAY khIAY ] imlY AsMqu, msit kir rhIAY ]1] bwbw, bolnw ikAw khIAY ] jYsy rwm nwm riv rhIAY ]1] rhwau ] sMqn isau boly aupkwrI ] mUrK isau boly JK mwrI ]2] bolq bolq bFih ibkwrw ] ibnu boly, ikAw krih bIcwrw ]3] khu kbIr, CUCw Gtu bolY ] BirAw hoie su kbhu n folY ]4]1] {pMnw 870} BIJAK : GRANTH OF KABIR JI Milhe Sant Bachan Dui Kahiye ] Milhe Asant Maun Hoy Rahiye ] Bolna Kaso Boliye Re Bhai ] Bolat Hi Sab Tatv Nasai ] Pandat So Boliye Hitkari ] Moorakh So Rahiye Jhakmari ] Bolat Bolat Badey Bikara ] So Boliye Jo Parhey Vichara ] Kahey Kabir Ardh Ghat Doley ] Poora Hoy Vichar Lai Boley ] Uniqueness of Rahau No Rahau Slide11:  Shabad Structure (Hook – Line – Sinker) Raagis start here Slide12:  Shabad Structure (Hook – Line – Sinker) Slide13:  Asthai (Chorus line) - The line that repeats itself. Antra – The line that is sung after Asthai and keeps changing. Gurmat Vichar lies in Rahau. Other lines extrapolate the Rahau theme. Incorrect style : The shabad “Lakh Khushiya Patshaiya” is normally sung with Non Rahau line as Asthai (Chorus). Repetition of the wrong line tells our sub-conscious mind to live in “HOPE” and make an “EFFORT” after receiving the lucky draw. Correct Style : CONDITION (Rahau used as Chorus) is that we make the “EFFORT” to rid the mind of attachment and the RESULT (Non-Rahau line) is - if Satguru showers his blessings then he may provide hundreds of pleasures. This also teaches us to remain in His HUKAM Shabad Structure & Keertan One Option:  One Option Target (Human soul) (795-10, iblwvlu, mÚ 1) mnu byiDAw dieAwl syqI myrI mweI ] man bayDhi-aa da-i-aal saytee mayree maa-ee. My mind is pierced through by the Merciful Guru jee, O my mother! Slide15:  Theme of Shabads complement the feelings conveyed by Raags. Guru jees desired to teach us how to create the mood to talk to Lord. In Gurmat Sangeet, the “Medium” (Raag) CANNOT dominate the “Essence” (Shabad). But without “Medium” the delivery power of “Essence” reduces. WHY RAAGS WERE ASSOCIATED WITH SHABADS? Another Analogy:  Another Analogy SHABAD RAAG iqQY GwViq GVIAY bhuqu AnUpu ] tithai ghaarhat gharhee-ai bahut anoop. Forms of incomparable beauty are fashioned there iqQY GVIAY suriq miq min buiD ] tithai gharhee-ai surat mat man buDh. The intuitive consciousness, intellect and understanding of the mind are shaped there. Slide17:  1. Sitar 2. Du-Tara 3. Taus 4. Tanpura 5. Saranda 6. Rabab 7. Jori INSTRUMENTS USED IN PURATAN GURMAT SANGEET Slide18:  INSTRUMENTS USED IN PURATAN GURMAT SANGEET Baba Sarda Singh Ji’s Hand made Taus Raagi, Bhai Jwala Singh Ji Slide19:  (733-19, sUhI, mÚ 4) ijQY hir AwrwDIAY iqQY hir imqu shweI ] jithai har aaraaDhee-ai tithai har mit sahaa-ee. Wherever Guru jee is worshipped in adoration, there Guru jee becomes one's friend and helper. Grain Stack By the Beach Slide20:  Rabab (used by Guru Nanak – does not require percussion) Rabab used by Guru Gobind Singh Ji (Mandi Gurudwara) Sarangi (used by Dhadis. Never used inside Darbar Sahib) Saranda (innovation of Guru Arjan Dev Ji) Dilruba (Adapted from Sarangi and Sitar. Popularized by Namdharis) Mayuri Taoos (Taoos is an extension of Sarangi, Saranda and Dilruba family. Mayuri Taoos is an improvisation of Taoos by adding a Peacock structure) Pakhawaj (used in dhrupad Keertan tradition) INSTRUMENTS USED IN PURATAN GURMAT SANGEET Slide21:  Bhai Avtar Singh & Jatha (Mayuri Taus) Bhai Pal Singh (Dilruba) Bhai Swarn Singh (Applying Atta on Tabla) Bhai Ranvir Singh (Mayuri Taus) INSTRUMENTS USED IN PURATAN GURMAT SANGEET Slide23:  Asa-di-Var Di Chowki (3AM to 6AM) – Asa Di Vaar followed by Shabads in Raags Asa, Ramkali, Bhairav, Prabhati, Gauri & Devgandhari Anand Di Chowki (6AM to 10AM) – 40 Puris of Anand Sahib followed by Shabads in Raags Gujri, Todi, Suhi & Tukhari Charan Kamal Di Chowki (Bilawal Di Chowki) (10AM to 4PM) – Shabads in Raags Bilawal, Manjh, Wadhans, Gond, Sarang, Basant, Maligura, etc. Sodar Di Chowki (4PM to 7PM) – Shabads in Raags Sri, Dhanasari, Jaitsri, Bairari, Maru, Asa, etc. Kalyan di Chowki (Sukh Asan) (7PM to 10PM) – Shabads in Raags Kalyan, Kanra, Bihagra, Sorath, Tilang, Nut-Narayan, Kedara, Malhar, Asa & Jaijawanti. This is followed by Kirtan Sohila KEERTAN CHOWKIS AT DARBAR SAHIB Slide24:  sBnw rwgW ivic so Blw BweI , ijqu visAw min Awie ] rwgu nwdu sBu scu hY , kImiq khI n jwie ] rwgY nwdY bwhrw , ienI hukmu n bUiJAw jwie ] nwnk , hukmY bUJY , iqnw rwis hoie, siqgur qy soJI pwie ] sBu ikCu iqs qy hoieAw , ijau iqsY dI rjwie ]24] (1423, slok vwrW qy vDIk, mÚ 4) Among all Ragas, that one is sublime, O Siblings of Destiny, by which the Waheguru jee comes to abide in the mind. Those Ragas which are in the Sound-current of the Naad are totally true; their value cannot be expressed. Those Ragas which are not in the Sound-current of the Naad - by these, the Waheguru jee 's will cannot be understood. O Nanak, they alone are right, who understand the Will of the True Guru. Everything happens as He wills. ||24|| (1423 – Slok Vaaran Tey Vadhik – Mahalla 4) (849 rwg iblwvl, mÚ 3]) iblwvlu qb hI kIjIAY, jb muiK hovY nwmu ] rwg nwd sbid sohxy, jw lwgY shij iDAwnu ] rwg nwd Coif , hir syvIAY , qw drgh pweIAY mwnu ] nwnk , gurmuiK bRhmu bIcwrIAY , cUkY min AiBmwnu ]2] Be happy and sing in Bilaaval, when the Naam, the Name of Waheguru jee is in your mouth,.the melody and music, and the Word of the Shabad are beautiful, when one focuses his meditation on the celestial Lord. So leave behind the melody and music, and serve the Lord; then, you shall obtain honor in the Court of Waheguru jee. O Nanak, as Gurmukh, contemplate God, and rid your mind of egotistical pride. ||2|| (849 Raag Bilawal – Mahalla 3) This Shabad is not under Raag classification This Shabad is under Raag classification Transformation GURUS MESSAGE IS SPIRITUAL TRANSFORMATION Slide25:  Shabads are associated Raags and Ghars. Looks like Gurus had a motive. Does it mean that Gurus have left no scope for experimentation with music? The framework was created to aid spiritual development and not to limit the ability of human mind to experiment with music. Simple mathematical permutation and combination on notes of any Raag would indicate that each Raag offers thousands of tunes to experiment with. SHABAD, POETRY AND RAAG By messing up things, are we not becoming a RAM RAI ?? He changed one word to please his audience (Aurangzeb). What are 90% of todays Raagis doing ? PLEASING THEIR AUDIENCE ( consequently pleasing their pockets) Just as a game of Soccer can be played with 1000’s of combinations ! With the framework of a Raag, unlimited experimentation can be achieved through selective combination of notes, pitch, beat, pace, etc . Slide26:  Gurus have gone into depths of culture to lay the framework that is best suited to convey both, feeling and message simultaneously. Dhunis (e.g. Tunday Asrajay ki Dhuni) Alahnian (folk tunes sung at death) (this is lamenting the fact that one has died without meeting the Akal Purakh) Ghorian (festive occasions) (Here Guru Jee is suggesting we treat this human body of ours as the ‘horse’) Folk tunes were Regional tunes (Not movie tunes – where the movie scene comes to your mind). Even today we have folk tunes of every state. Folk tunes were taken as a medium of delivery of the Message of the Shabad. Just like - since there was a Ramkali – Dakhani, would it not be improper to sing the Ramkali of the north/east when Guru Jee was delivering the message sitting in Onkareshwar ? Filmy Music could be OK if you say you belong to a State called BOLLYWOOD FEELING COMPLEMENTORS Slide27:          Keertan (Devotional Hymns Singing by a Group or an Individual)  Article VI Only a Sikh may perform Keertan in a congregation. Keertan means singing the scriptural compositions in traditional (Raag based) musical measures. kIrqn : gurbwxI nUM rwgW ivc aucwrn krn nUM kihMdy hn In the congregation, Keertan only of Gurbani (Guru Granth's or Guru Gobind Singh's  hymns) and, for its elaboration, of the compositions of Bhai Gurdas and Bhai Nand Lal, may  be performed. It is improper, while singing hymns to rhythmic folk tunes or to traditional (Raag based) musical  measures, or in team singing, to induct into them improvised & extraneous refrains (extra concocted lines). Only a  line from the hymn should be made a refrain.* * There is a clear consensus amongst Puraatan literature and Keertanias that only Rahau, when available, should be made the Chorus refrain. SIKH REHAT MARYADA ON KEERTAN Slide28:  Some children are making the right effort DOWNFALL IN KEERTAN:  DOWNFALL IN KEERTAN Slide30:  Harmonium is NOT an Indian instrument. Over 100 year back, the Europeans bought the Harmonica and Piano to India. To help spread Christianity in remote areas with use of a portable musical instrument – Harmonium was developed by adapting the Church Organ. CREATION OF HARMONIUM Slide31:  Human ear can recognize 22 musical notes in an Octave. String instruments are continuous and offer the ability to play 22 notes in an Octave by pressing the string at mid-points. Harmonium is discreet & only offers 12 musical notes keys in an Octave. Sa Re Ga Ma Pa Dha Ni + Komal (Re Ga Dha Ni) + Teevar (Ma) Harmonium offers an equitable division of notes, which doesn’t suit Indian Raag system. In the old pictures of Harmandir Sahib, one would only find string instruments being used by the Keertanias. HARMONIUM AND STRING INSTRUMENTS Slide32:  Ease of use. Helped masses start their spiritual journey. Enables a person to learn Keertan in just 2 months (viz years on String). Also caused biggest deterioration in Keertan. Professional Keertanias now found it hard to keep pace with mass of Amateur Keertanias. Materialistic limitations/desires lead them to shorten their classical training period by moving to Harmonium, which resulted in complete elimination of string instruments from the Gurudwaras. Limited knowledge of Gurmat Sangeet paved way to catchy filmi tunes. Harmonium should have been used by budding Sikh Keertanias to quickly acquire musical sense and move forward to experimenting within prescribed framework of Guru Granth Sahib. Instead all are now choosing short cut. HARMONIUM AND DOWNFALL IN KEERTAN FUSION IS CONFUSION !:  FUSION IS CONFUSION ! Slide34:  British empire – social influence (Food, language, clothes, technology). Present mainstream religious influence. Why present distortion in Multi-faith? Where does one draw the line? CONFUSION : Harmandir Sahib & CHURCH Slide35:  The Confusion is no longer there. Slide36:  Music is a double edged sword. Your choice – Constructive Raag based Keertan or – (922-9, rwmklI, mÚ 3) ijqu suxI à mnu qnu hirAw hoAw à rsnw ris smwxI ] jit sunee man tan hari-aa ho-aa rasnaa ras samaanee. Hearing it, the mind and body are rejuvenated, and the tongue is absorbed in Ambrosial Nectar. or Destructive feelings through catchy tunes. Catchy musical tunes/over dominance of instruments are not prescribed. Risk is that only tune and not the message remains in the mind. Raag complements message of Shabad by arousing feeling of spirituality. Medium (Raag) CANNOT dominate the essence (Shabad). ASK YOURSELF When prescribed Raag offers uncountable permutation and combination of musical compositions, then why is it that Keertanias today are not experimenting within prescribed framework of Guru Granth Sahib? CONCLUSION Slide37:  Gyan Singh Abbotabad (Documented in association with Bhai Tabba Ji) Gyani Dyal Singh (Gurmat Sangeet Vidyalaya, Rikab Ganj) (Worked with Gyan Singh Abbotabad and then joined Gyani Hardit Singh) DOCUMENTING ORAL TRADITION Slide38:  You are responsible to preserve your heritage. Attend Keertan Darbars of Raagis that do Keertan in Raags. Make effort to listen to Raag based Keertan recordings. A good source of Raag based recordings on the internet is www.gurmatsangeetproject.com Enroll your children and yourself for Keertan courses. Subscribe to Amrit Keertan Monthly magazine published by Dr. Jagir Singh of Chandigarh. Read Guru Granth Sahib and make effort to interpret Shabads with Hook-Line-Sinker principle. Refer following translation works Guru Granth Sahib Darpan by Professor Sahib Singh (10 Volumes) www.gurugranthdarpan.com Guru Granth Sahib Darshan Nirnay by Giani Harbans Singh (14 Volumes) RECOMMENDATION TO SANGAT Slide39:  MAKE GURU GRANTH SAHIB AS THE FULCRUM OF YOUR LIFE World War 1 - Mesopotamia campaign 1918 I have here, few CDs of Dr Gurnam Singh jee with all 31 Raags and combinations too. This will help you appreciate Kirtan in Raags.:  I have here, few CDs of Dr Gurnam Singh jee with all 31 Raags and combinations too. This will help you appreciate Kirtan in Raags. I have here, few CDs of Prof Paramjot Singh jee with all 31 Raags This will help you appreciate Kirtan in Raags.:  I have here, few CDs of Prof Paramjot Singh jee with all 31 Raags This will help you appreciate Kirtan in Raags. Slide42:  RAAGIS : Year 2025 !! Slide43:  vwihgurU jI kw Kwlsw vwihgurU jI kI Piqh ] Waheguru Ji Ka Khalsa, Waheguru Ji Ki Fateh

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