The VAARS...and there are 22 of them...are at the END of various Raags....Vaar ASA KI is the most famous....its sung every morning at almost ALL Gurdwaras....its DHUNNI..is TUNDEH ASRAJEH KI DHUNNI.
Its beleived that Guru Hargobind Ji POPULARISED the Vaars to be Sung according to the POPULAR DHUNNIS of the time....there is a Tundeh Asrajjeh Ki Vaar in FOLKLORE....so Guru Ji ADAPTED that Dhunni for Asa Ki Vaar...
*****
GURU HARGOBIND JI, GURU HAR RAI jI, GURU Harkishan Ji DID NOT WRITE ANY GURBANI.
There is Vaar Majh ki..at end of Raag majh..Basant Ki Vaar...etc..read the full details below...
Vaar & Dhuni: There are 22 Vaaras included in the SGGS, 9 of them come with distinctive assigned traditional folk musical tunes (Dhuni) of their own as noted below. Thus, they have a simple rhythm or a pattern of a folk Taal(beat) with a wider simple and emotional appeal. Vaars are not assigned with any particular "Ghar" notation. They are accompanied by "Slokas" and "Paurees", and the essence of the Vaar lies in the "Pauree". They are generally intended to produce martial feelings.
- Maanjh Kee Vaar Mahala 1 — Malak Mureed Tathaa Chandharaa Soheeaa kee Dhuni (sggs 137).
- Gauree Kee Vaar Mahala 4 — Raai Kamaaldee Mojdee Kee Dhuni (sggs 318).
- Aasaa Dee Vaar Mahala 1 — Tunde Asraaje Kee Dhuni (sggs 462).
- Gujree Kee Vaar Mahala 3 — Sikandar Biraahim Kee Kee Dhuni (sggs 508).
- Wadhans Kee Vaar Mahala 5 — Lalaan Bahreemaa Kee Dhuni (sggs 585).
- Raamkalee Kee Vaar Mahala 3 — Jodhe Veere Poorvaanee Kee Dhuni (sggs 947).
- Saarang Kee Vaar Mahala 5 — Raai Mahame Hasane Kee Dhuni (sggs 1237).
- Malaar Kee Vaar Mahala 1 — Raanai Kailaas Tathaa Maalde Kee Dhuni (sggs 1278).
- Kaanare Kee Vaar Mahala 5 — Moose Kee Dhuni (sggs 1312).
Vaars are to be sung in appropriate Raaga and Dhuni indicated in the SGGS. For example, Maanjh Kee Vaar is to be sung in Raaga Maanjh accompanied by the Taala of "Malak Mureed Tathaa Chandharaa Soheeaa kee Dhuni".
Unfortunately the art of traditional Dhunis mentioned in the SGGS appears to be dying out, and needs to be preserved by training youngsters
A Vaar is a narrative poem, usually set to music; thus, it often is a story told in a song. Any story form may be told as a ballad, such as historical accounts or fairy tales in verse form. It usually has foreshortened, alternating four stress lines ("ballad meter") and simple repeating rhymes, often with a refrain.
If it is based on a political or religious theme, a ballad may be a hymn. It should not be confused with the ballade, a 14th and 15th century French verse form. The ballade is a verse form typically consisting of three eight-line stanzas, each with a consistent metre and a particular rhyme scheme. The last line in the stanza is a refrain, and the stanzas are followed by a four-line concluding stanza (an envoi) usually addressed to a prince.
AND a FURTHER informative article form T.Sher Singh Ji..of Gurbani Org
SOME TECHNICAL TERMS USED IN THE GURBANI
Through the letters, comes the Naam; through the letters, You are Praised.
Through the letters, comes spiritual wisdom, singing the Songs of Your Glory.
Through the letters, come the written and spoken words and hymns ...(sggs 4).
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The Sikh Gurus wrote
Shabads in poetical-metric forms. They were then associated with various
Raagas and
Ghars and many other terms such as
Partaal, Sudhang, Rahaaou, Pauree, Vaar, Ikpadaa, Dupadaa, Tipadaa, Chaarpade, Ashatpadee,
Chhand, Ghorian and
Alahunian of folk music, types of
Kirtan music,
Gaathaa, Funhe, Chaubole,
Savayyas, Karhale,
Solahe,
Mahalaa,
Pattee, and so on. This Gurbani Reflection will attempt to have a brief discussion of these.
RAAGAS:
Raaga — combination of a set pattern of notes — is a condition of melody, which literally means to color or to please. Sri Guru Granth Sahib (SGGS) is arranged in chapters that bear names of musical
Raagas, according to the nature of the composition, the musical clef (
Ghar), etc. Each of the
Raagas is unique. From a music standpoint, specifically the
Bani of the SGGS is arranged and indexed according to the prescribed
Raagas, singing forms, music signs/ headings and the other guidelines noted in the
Bani. Popularly known as
Gurmat Sangeet, such system of
Gur-Shabd Kirtan instituted by the Sikh Gurus (initially established by Baabaa Nanak) is a unique musical tradition indeed, which creates original and specific musicology. The Gurus made the
Kirtan an inseparable part of the Sikh way of life. The mixture of both the
Shabad and the
Raagas compliment each other in that the
Raaga conveys a feeling and the
Shabad a message. Thus combined together both produce very potent effect and impact on the human mind and heart, invoking spiritual sentiment, concentration, discipline, longing and love for God, etc. Thus the aim of the
Kirtan is to experience the inner joy (Bliss) and
Sahaj (one's natural state of Being). Therefore, the
Kirtan is mentioned in the SGGS to be "the support of life", "remedy against evil", "source of virtues", "invaluable gem", "ocean of bliss", "divine nectar", "bestower of salvation", and so on. Sri Guru Arjan Dev Jee (who first compiled and installed the
Aadi Granth at the Harmandir Sahib, was very fond of the
Kirtan and the music) initiated the system of music sessions (
Chowkies) at the Harmandir Sahib.
The entire
Bani of the SGGS has been classified under 31 main
Raagas. They are as follows:
Sri, Maanjh, Gauree, Aasaa, Gujree, Devghandhaaree, Bihaagraa, Wadhans, Sorath, Dhanaasree, Jaitsree, Todee, Bairaaree, Tilang, Suhee, Bilaawal, Gaund, Raamkalee, Nat Naaraayan, Maalee Gauraa, Maaroo, Tukhaaree, Kedaaraa, Bhairav, Basant, Saarang, Malhaar, Kaanraa, Kalyaan, Parbhaatee, and
Jaijawantee.
Besides these 31 main
Raagas, there are also variants of
Raagas such as
Gauree Guaareree, Gauree Dakhanee, Gauree Chetee, Gauree Deepkee, Gauree Poobee, Gauree Maanjh, Gauree Poobee Deeplee, Gauree Sulakhanee, Gauree Maalvaas, Gauree Maalaa, Gauree Bairaagan, Gauree Sorath, Wadhans Dakhanee, Tilang Kaafee, Suhee Kaafee, Suhee Lalit, Bilaaval Dakhanee, Bilaaval Gaund, Bilaaval Mangal, Raamkalee Dakhanee, Maroo Kafee, Maaroo Dakhanee, Basant Hindol, Kalyaan Bhoopaalee, Praabhaatee Dakhanee, and
Praabhaatee Bibhaas.
Each
Raaga offers a unique relationship to human moods and feelings. Another interesting aspect of
Raagas is that there is a seasonal allocation as well as daily twenty-four hour time cycle allocation. For example, there are some morning
Raagas, some evening
Raagas, some afternoon
Raagas, some night
Raagas, and so on . Also, there are
Raagas that are associated with seasons. For example,
Malhaar and
Megha Raagas, are sung in the rainy season, in the spring the
Basant Raaga, etc. The reason is that human mind and heart undergo varying degrees of mood changes during a twenty-four hour time cycle as well as different seasons, therefore, certain
Raagas are particularly suitable for certain time of the day and night as well as season. Dividing daily twenty-four hour timing cycle in eight
Pahars and each
Pahar in approximately three hour-period, the
Raagas of each
Pahar are as follows:
- 6 AM - 9AM: Bilaaval, Devgandhaaree
- 9 AM - 12 PM: Saarang, Suhee, Bilaaval, Gujree, Goaud, Todee
- 12 PM - 3 PM: Wadhans, Maaroo, Dhanaasaree
- 3 PM - 6 PM: Maanjh, Gauree, Tilang, Tukharee
- 6 PM - 9 PM: Sri Raaga, Basant, Maalee Gauraa, Jaitsree, Kedaaraa, Kalyaan
- 9 PM - 12 AM: Bihaagra, Nat Naraayan, Sorath, Malhaar, Kaanraa, Jaijawantee
- 12 AM - 3 AM: No Raaga specified in the SGGS. The reason could be that this is the time to sleep!
- 3AM - 6AM: Aasaa, Raamkalee, Bhairav, Parbhaatee
Unfortunately, Kirtan today has been commercialized to such an extent that most Raagees (KirtanKirtan ourselves as envisioned by the fifth Guru, Sri Guru Arjan Dev Jee. Instead we hire the so called professionals to sing it for us. The results are in front of us. singers) are only focused and concerned with making quick money. This is commercialization and exploit of the faith. We all are to be blamed for this condition. Because, we do not perform
Before Sri Guru Arjan Dev Jee started amateur class of
Kirtan singers to perform
Kirtan, professional singers (like nowadays) called "
Rabbaabees" used to perform
Kirtan for the
Sangat (congregation) and the Guru. To cut the long story short, once these "
Rabbaabees" went on strike, and thus denied to sing. It was that time Sri Guru Arjan Dev Jee started training the amateur class of
Raagees to perform
Kirtan. The sixth Guru (Sri Guru Hargobind Jee) started a new class of
Raagees called "
Dhaadee", who sang heroic deeds of old warriors. They thus inspired the Guru's soldiers. The name "
Dhaadee" came from "
Dhad", which is a relatively small handheld percussion drum.
GHAR:
It is a musical sign, used at the top of the
Shabad in the SGGS. It gives a hint to
Raagees as to what musical clef (beat) to sing the
Shabad in. In other words, "
Ghar" binds music and poetry in their metrical-form. There are up to seventeen "
Ghar" mentioned in the SGGS. Musicologists have different interpretations of this term. But the consensus seems to be that it denotes the parts of a
Taal (beat). Following is a list of seventeen
Taals used in Indian Music with their respective "
Ghar". A close observation of the following list indicates that the majority of the modern
Raagees generally seem to sing only in the first three or four.
- GHAR 1 — Daadraa Taal (There is 1 Taalee* and the Beat has 6 Maatraas**
- GHAR 2 — Roopak Taal (There are 2 Taalees and the Beat has 7 Maatraas)
- GHAR 3 — Teen Taal (There 3 Taalees and the Beat has 16 Maatraas)
- GHAR 4 — Chaar Taal (There are 4 Taalees and the Beat has 12 Maatraas)
- GHAR 5 — Panj Taal Swaaree (There are 5 Taalees and the Beat has 15 Maatraas)
- GHAR 6 — Khatt Taal (There are 6 Taalees and the Beat has 18 Maatraas)
- GHAR 7 — Matt (Ashat) Taal (There are 7 Taalees and the Beat has 21 Maatraas)
- GHAR 8 — Asht Mangal Taal (There are 8 Taalees and the Beat has 22 Maatraas)
- GHAR 9 — Mohinee Taal (There are 9 Taalees and the Beat has 23 Maatraas)
- GHAR 10 — Braham Taal (There are 10 Taalees and the Beat has 28 Maatraas)
- GHAR 11 — Rudra Taal (There are 11 Taalees and the Beat has 32 Maatraas)
- GHAR 12 — Vishnu Taal (There are 12 Taalees and the Beat has 36 Maatraas)
- GHAR 13 — Muchkund Taal (There are 13 Taalees and the Beat has 34 Maatraas)
- GHAR 14 — Mahashanee Taal (There are 14 Taalees and the Beat has 42 Maatraas)
- GHAR 15 — Mishr Baran Taal (There are 15 Taalees and the Beat has 47 Maatraas)
- GHAR 16 — Kul Taal (There are 16 Taalees and the Beat has 42 Maatraas)
- GHAR 17 — Characharee Taal (There are 17 Taalees and the Beat has 40 Maatraas)
*
Taalee is the pattern of clapping.
Taals are typified by a particular pattern and number of claps.
**
Maatraa is the beat, which may be subdivided if required.
There are many other
Taals that may or may not have the same number of
Taalees and/or
Maatraas. For example
Punajabi Taal, Chhotee Teen Taal, and
Thumri all have the same number of
Taalees and
Maatraas as the
Teen Taal. Both the
Jhap Taal and
Sool Phaak Taal have 3
Taalees as in
Teen Taal but only 10
Maatraas. Both
Dhamar Taal and
Chnachal Taal have 3
Taalees as in
Teen Taal but have only 14
Maatras.
Ik Taal has 4
Taalees and 12
Maatraas as in
Chaar Taal.
Aadaa Chautaalaa,
Bhaan Matee Taal (
Chaar Taal Dee Savaaree),
Jagg Paal Taal, and
Jai Taal all have 4
Taalees as
in Chaar Taal but not the same
Maatraas (14, 11, 11 and 13, respectively).
Sikhar Taal has 3
Taalees as in
Teen Taal but 17
Maatraas.
Talwaaraa Taal has 2
Taalees as in
Roopak Taal, but 8
Maatraas.
Indra Taal has 6
Taalees as in
Khatt Taal, but 19
Maatraas.
Deep Chandee or
Chaachar Taal and
Jhumraa Taal have 3
Taalees as in
Teen Taal, but 14
Maatraas, and so on. Evidently the Indian music has developed and expanded in such a disciplined way that it has
Taals of a just a few
Maatraas to many
Maatraas.
Not only music,
Taal also pervades every movement of the entire Creation. Days, nights, weeks, months, years, seasons, movement of the planets in orbits, constant spinning of electrons around the center of the atom (called the nucleus where the protons and neutrons are located) etc. are a few reminders.
VAAR AND DHUNI :
T
here are 22 Vaaras included in the SGGS, 9 of them come with distinctive assigned traditional folk musical tunes (Dhuni) of their own as noted below.Thus, they have a simple rhythm or a pattern of a folk Taal (beat) with a wider simple and emotional appeal. Vaars are not assigned with any particular "Ghar" notation. They are accompanied by "Slokas" and "Paurees", and the essence of the Vaar lies in the "Pauree". They are generally intended to produce martial feelings.
- Maanjh Kee Vaar Mahalaa 1 — Malak Mureed Tathaa Chandharaa Soheeaa kee Dhuni (sggs 137).
- Gauree Kee Vaar Mahalaa 4 — Raai Kamaaldee Mojdee Kee Dhuni (sggs 318).
- Aasaa Dee Vaar Mahalaa 1 — Tunde Asraaje Kee Dhuni (sggs 462).
- Gujree Kee Vaar Mahalaa 3 — Sikandar Biraahim Kee Kee Dhuni (sggs 508).
- Wadhans Kee Vaar Mahalaa 5 — Lalaan Bahreemaa Kee Dhuni (sggs 585).
- Raamkalee Kee Vaar Mahalaa 3 — Jodhe Veere Poorvaanee Kee Dhuni (sggs 947).
- Saarang Kee Vaar Mahalaa 5 — Raai Mahame Hasane Kee Dhuni (sggs 1237).
- Malaar Kee Vaar Mahalaa 1 — Raanai Kailaas Tathaa Maalde Kee Dhuni (sggs 1278).
- Kaanare Kee Vaar Mahalaa 5 — Moose Kee Dhuni (sggs 1312).
Vaars are to be sung in appropriate
Raaga and
Dhuni indicated in the SGGS. For example,
Maanjh Kee Vaar is to be sung in
Raaga Maanjh accompanied by the
Taala of "
Malak Mureed Tathaa Chandharaa Soheeaa kee Dhuni". Unfortunately the art of traditional
Dhunis mentioned in the SGGS appears to be dying out, and needs to be preserved by training youngsters.
GHORIAN, ALAHUNIAN AND KARHALE:
In addition to the classical music, the folk music (because of its wide appeal) is also given importance in the SGGS. In this regard, in addition to the
Vaars listed above, there are some
Shabads about the "
Ghorian" and "
Alahunian" etc. "
Ghorian"
Shabads are on marriage and other festive occasions. "
Alahunian"
Shabads are on death.
Karhale is a type of the "
Chhand". It also denotes a type of folk music the camel riders sing while traveling. The Gurbani has repeatedly compares our wandering minds with the camel as well. For example, see SGGS pages 234-235.
PARTAAL:
This is also a musical sign for the
Ragees.
Partaal means there are different
Taals (beat) for the parts of the
Shabad. In other words,
Partaal means the parts of the
Shabad should be sung in different
Taalas and tempo. In the SGGS, there are 49
Shabads in
Partaal set to different "
Ghar".
SUDHANG:
This is also a musical sign for the
Ragees. This term appears once in the SGGS (page 369,
Aasaa Raaga). Essentially it conveys direction to
Raagees to sing the
Shabad in its pure form. For example, when the
Shabad is in
Aasaa Raaga, then it must be sung in that
Raaga (and
Ghar).
RAHAOU:
The word "
Rahaou" marks "pause", and denotes main theme line. In other words, the verse of "
Rahaou" contains the basis, essence or central thought of the
Shabad. Whilst, the remaining lines of the
Shabad are considered an exposition of the verse of "
Rahaou". That's why
Raagees use it as "
Asthaaee" (first or the main part of the music composition) and thereby sing it repeatedly. In some
Shabads, there are more than one "
Rahaou", such as
Rahaaou 1,
Rahaaou 2,
Rahaaou 3,
Rahaaou 4, etc.(for example, see Pages 26-26, 154, 96-97, 899 of the SGGS). This indicates introduction of a new thought. There is no "
Rahaou" in the "
Slokas". In regard to the
Vaars of Bhai Gurdaas Jee, the last line of the "
Pauree" is considered to contain the main thought.
IKPADAA, DUPADAA, TIPADAA, CHAARPADE, CHHAND, CH HAKAA, ASHATPADEE, SAVAYYAS:
As the name implies, "
Ikpadaa" denotes the
Shabads of one verse. When "
Ikpadaa"
shabads have two verses, they are sung as one verse. "
Dupadaa" are the
Shabads that contain, besides the
Rahaou lines, two stanzas. "
Tipadaa" are the
Shabads of three stanzas. Similarly, the "
Chaupade" are the
Shabads of four verses, "
Chhands" are the
Shabads of six lines, and "
Ashatpadee" are the
Shabads of eight verses.
"Chhhakaa" is of six
Padaas. Someplaces both "
Chaupade Dupade" appear together (for example, see SGGS page 185). It means that particular
Shabad contains "
Chaupade" following "
Dupade". The "
Savayyas" are the compositionsof praise.
SALOKA:
A form of verse or stanza, generally a two-liner form allowing a variety of metrical arrangement.
PAUREE:
"
Paurees" are a form of stanzas. They also contain the essence of the
Vaars. Literally meaning ladder or rung, it is a form of stanza adopted for
Vaars. They generally consist of 6 to 8 lines each. Stanzas of Baabaa Nanak's
Japuji are also traditionally called
Paurees. Traditionally,
Raagees are supposed to conclude Kirtan with singing of a "
Pauree" from
Raagas Bilaaval,
Kaanraa etc.
GAATHAA, FUNHE, AND CHAUBOLE:
Funhe is a form of the
Chhand (for example, see SGGS page 1361).
Chaubole is also a form of the
Chhand (for example, see SGGS page 1363 where it has 11 verses).
Gaathaa denotes composition in an ancient language (mixture of
Sanskrit,
Paalee and other languages). Many Buddhist scriptures are written in this language (for example, see page 1360 of SGGS).
SOLAHE:
"
Solahe" is the
Shabad containing generally sixteen stanzas (for example, see SGGS page 1021). They are only found in
Raaga Maaroo. There is no "
Rahaaou" in them. Also, they follow "
Ashatpadees".
MAHALAA:
Initially called
Adi Granth, the contents of the SGGS (1,430 pages) contains
Bani of the Gurus (Guru Nanak Dev, Guru Angad Dev, Guru Amar Das, Guru Raam Das, Guru Arjan Dev, Guru Tegh Bahadur, and one Sloka of Guru Gobind Singh Jee), and
Hindu saints (
Brahmans and
Soodras) and Muslim Sufis. These 15 saints were Kabeer, Nam Dev, Ravidas, Sheikh Farid, Trilochan, Dhanna, Beni, Bhikan, Sur Daas, Parmanand, Pipa, Raamanand, Sadhana and Sain. It also contains the hymns of eleven
Bhattas and Bards, they were Mathuraa, Jalap, Harbans, Talya, Salya, Bhal, Kulh Sahar, Nal, Kirat, Sadrang and Gayand. In addition, it also consists of the hymns of Mardaanaa (the minstrel of Baabaa Nanak),
Raamkalee Sad by Sunder , and
Vaar of Sattaa and Balwand.
The word "
Mahalaa" at the top of the
Shabad identifies which Guru is the author. For example, "
Mahalaa 1" identifies the first Guru, "
Mahalaa 2" identifies the second Guru, "
Mahalaa 3" identifies the third Guru, "
Mahalaa 4 " identifies the fourth Guru, "
Mahalaa 5" identifies the fifth Guru, "
Mahalaa 9" identifies the ninth Guru. This notation appears with the
Bani of the first five Gurus and the ninth Guru only.
PATTEE:
Literally "
Pattee" means a writing board, slate or notebook (
Fattee). When it appears at the top of the
Shabad, it's also used to impart the Divine Teachings in the order of
Varanmaalaa (alphabet), for example see page 432 of the SGGS.
— T. Singh
Sikhism - Reflections On Gurbani
