PSEB SS Gurmat Sangeet cheat sheet

Gurmat Sangeet is the Sikh system of sacred music established by Guru Nanak Dev Ji, who used kirtan as the primary medium for disseminating the Shabad; it is distinct from courtly Hindustani sangeet because its purpose is spiritual realization, not entertainment.

Guru Nanak Dev Ji's travels (udasis) carried kirtan across the subcontinent and beyond, accompanied by Bhai Mardana on the rabab; the Guru composed in raags drawn from the prevailing classical tradition but adapted them to Gurbani's devotional intent.

Guru Angad Dev Ji standardized and consolidated the Gurmukhi script and preserved the Guru's compositions, enabling accurate transmission of the shabad text that kirtan sets to music.

Guru Amar Das Ji institutionalized the Anand Karaj with the composition of Lavan, and established the manji system of preaching, embedding kirtan in the daily life of Sangats.

Guru Ram Das Ji founded Amritsar and composed the four Lavan and other shabads; Guru Arjan Dev Ji compiled the Adi Granth in 1604, arranging the shabads by raag, thereby codifying the raag framework of Sikh kirtan.

Guru Hargobind Ji introduced the concept of Miri-Piri, and the tradition of kirtan continued alongside martial and temporal responsibilities; the rabab and other instruments remained central to Sikh devotional practice.

Guru Har Rai Ji, Guru Har Krishan Ji, Guru Tegh Bahadur Ji and Guru Gobind Singh Ji continued the tradition; Guru Gobind Singh Ji's compositions (e.g., in the Dasam Granth) and the establishment of the Khalsa reinforced kirtan as an essential Sikh practice.

The Guru Granth Sahib is arranged into 31 raags, and the raag-maryada of the scripture is the foundation of Gurmat Sangeet; kirtan is traditionally performed in the prescribed raag and at the prescribed time (prahar).

The Guru Granth Sahib contains 31 raags, beginning with Raag Asa and ending with Raag Jaijavanti; each raag section is called a 'Raag' and contains shabads by the Gurus and Bhagats.

The 31 raags in order include: Asa, Gujri, Gauri, Devgandhari, Bihagra, Vadhans, Sorath, Dhanasri, Tilang, Suhi, Bilaval, Gond, Ramkali, Nat Narain, Mali Gaura, Maru, Tukhari, Kedara, Bhairo, Basant, Sarang, Malar, Kanra, Kalyan, Prabhati, Jaijavanti, and others (the exact list includes Sri Raag, Majh, and additional raags).

Sri Raag and Majh appear at the beginning of the Guru Granth Sahib before Asa; the complete count is 31 raags, and each raag has a prescribed time of day (prahar) for performance.

Kirtan traditions include: (1) traditional raag-based kirtan, (2) kirtan with stringed instruments (rabab, saranda, taus), (3) kirtan with percussion (jori, tabla), and (4) modern harmonium-based kirtan; the raag framework is preserved in the traditional forms.

The raag of a shabad is indicated in the Guru Granth Sahib by a heading such as 'Raag Asa' or 'Asa Mahalla 1'; the shabad should be sung in that raag, and deviation is considered a departure from raag-maryada.

Kirtan is performed in the prescribed raag at the prescribed time; for example, Raag Asa is associated with the early morning, Raag Sorath with the evening, and Raag Bilaval with the afternoon.

The raag framework of Sikh kirtan includes not only the 31 raags of the Guru Granth Sahib but also the raags used in the Dasam Granth and in the compositions of Bhai Gurdas and Bhai Nand Lal.

Kirtan maryada requires that the shabad be sung with devotion, in the correct raag, with correct pronunciation (shabad uchcharan), and with the accompaniment of traditional instruments; the raag and the shabad are inseparable.

A raag is a melodic framework characterized by a specific set of swaras (notes), aroh (ascending scale), avroh (descending scale), pakad (characteristic phrase), vadi (main note), samvadi (second main note), and a prescribed time (prahar).

Raag Asa: aroh S R G M P D N S; avroh S N D P M G R S; vadi is Ga, samvadi is Pa; associated with the early morning (first prahar of the day); a raag of the Bilaval thaat.

Raag Sri: aroh S R M P N S; avroh S N D P M G R S; vadi is Re, samvadi is Pa; associated with the evening; a raag of the Purvi thaat.

Raag Bilaval: aroh S R G M P D N S; avroh S N D P M G R S; all shuddha swaras; vadi is Dha, samvadi is Ga; associated with the afternoon; the raag of the Bilaval thaat.

Raag Sorath: aroh S R M P N S; avroh S N D M G R S; vadi is Re, samvadi is Pa; associated with the evening; a raag of the Khamaj thaat.

Raag Bhairo: aroh S r G M P d N S; avroh S N d P M G r S; vadi is Ma, samvadi is Sa; associated with the morning; a raag of the Bhairav thaat; komal Re and komal Dha are characteristic.

Raag Basant: aroh S G M d r S; avroh S N d P M G r S; vadi is Ma, samvadi is Sa; associated with the spring season and the morning; a raag of the Purvi thaat.

Raag Maru: aroh S r G M P d N S; avroh S N d P M G r S; vadi is Re, samvadi is Pa; associated with the afternoon; a raag of the Marwa thaat.

Raags are classified into thaats (parent scales) according to the Bhatkhande system; the ten thaats are Bilaval, Khamaj, Kafi, Asavari, Bhairavi, Bhairav, Kalyan, Marwa, Purvi, and Todi.

Each thaat is defined by the specific swaras it contains; for example, Bilaval thaat has all shuddha swaras, Khamaj thaat has komal Ni, Kafi thaat has komal Ga and komal Ni, and Bhairav thaat has komal Re and komal Dha.

Raags are also classified by jaati (number of notes in aroh and avroh): sampurna (7 notes), shadav (6 notes), audav (5 notes); a raag can be sampurna-sampurna, shadav-sampurna, audav-audav, etc.

Raags are classified by time of day (prahar): morning raags include Asa, Bhairo, Basant; afternoon raags include Bilaval; evening raags include Sri, Sorath; night raags include Kanra, Kalyan.

Raags are classified by season: Basant is associated with spring, Malar with the rainy season; these seasonal associations are reflected in the Guru Granth Sahib's arrangement.

Raags are classified by mood (rasa): some raags evoke devotion (bhakti), others valour (vir), others peace (shant); the rasa of a raag informs its suitability for a particular shabad.

Raags are classified as poorvang-vadi (emphasizing the lower tetrachord, Sa to Ma) or uttarang-vadi (emphasizing the upper tetrachord, Pa to Sa); this affects the development (vistar) of the raag.

Raags are classified as sampurna (all seven notes), shadav (six notes), and audav (five notes); the jaati of a raag is determined by the number of notes in its aroh and avroh.

Taal is the rhythmic framework of Indian music, defined by matra (beat), vibhag (division), tali (clap), khali (wave), and theka (the rhythmic pattern).

The most common taals in Sikh kirtan are: Keharva (8 matras, 2 vibhags of 4), Dadra (6 matras, 2 vibhags of 3), Rupak (7 matras, 3 vibhags of 2-2-3), Jhaptal (10 matras, 4 vibhags of 2-3-2-3), and Chautal (12 matras, 6 vibhags of 2).

Keharva taal: 8 matras, vibhags 4+4, tali on 1 and 5, khali on 5; theka: dha ge na ti, na ka dhi na.

Dadra taal: 6 matras, vibhags 3+3, tali on 1, khali on 4; theka: dha dhi na, dha tu na.

Jhaptal: 10 matras, vibhags 2+3+2+3, tali on 1, 3, 8, khali on 6; theka: dhi na, dhi dhi na, ti na, dhi dhi na.

Chautal: 12 matras, vibhags 2+2+2+2+2+2, tali on 1, 5, 9, 11, khali on 3, 7; theka: dha dha din ta, kit dha, din ta, tete kata, gadi gene.

In Sikh kirtan, the jori (a pair of drums) is the traditional percussion instrument; the tabla is also used, and the pakhawaj is used for dhrupad-style kirtan.

The concept of sam (the first beat) is central to taal; the singer and percussionist must arrive at sam together, and the shabad's rhythmic structure is aligned with the taal's vibhags.

Swar (notes) are the seven basic notes: Sa, Re, Ga, Ma, Pa, Dha, Ni; Sa and Pa are achala (immovable), while Re, Ga, Ma, Dha, Ni have komal (flat) and tivra (sharp) variants.

Komal swaras are Re, Ga, Dha, Ni (lowered by a semitone); tivra Ma is raised by a semitone; the twelve swaras in an octave are: S, r, R, g, G, M, m (tivra), P, d, D, n, N.

Sargam is the solfège system of Indian music: Sa Re Ga Ma Pa Dha Ni; it is used for teaching, notation, and vocal exercises (palte).

Swaralipi (notation) in the Bhatkhande system uses: uppercase letters for shuddha swaras, lowercase for komal, and a line above for tivra; a dot above indicates the upper octave (tar), a dot below indicates the lower octave (mandra).

In swaralipi, a horizontal line under a group of swaras indicates a single matra; a vertical line (bar) marks the end of a vibhag; the sam is marked with an 'X' or a cross.

The notation of a shabad includes the raag, the taal, the matra count, and the swara sequence; the shabad's text is aligned syllable by syllable with the notes.

Sargam exercises (palte) are sequences such as S R G M, R G M P, G M P D, etc., used to develop voice control and familiarity with the raag's swaras.

In Sikh kirtan notation, the shabad is often written with the raag and taal indicated at the top, and the swaras are written above the text; the notation must preserve the correct pronunciation and the raag's pakad.

Rabab: a plucked string instrument with a hollow wooden body, a long neck, and a parchment-covered resonator; it has 5-6 strings and is played with a wooden plectrum (mizrab); associated with Bhai Mardana and Guru Nanak Dev Ji.

Saranda: a bowed string instrument with a hollow wooden body, a long neck, and a parchment-covered resonator; it has 3-4 main strings and sympathetic strings; associated with Guru Arjan Dev Ji and the Sikh kirtan tradition.

Taus: a bowed string instrument shaped like a peacock, with a long neck and a resonator; it has 3-4 main strings and is played with a bow; associated with Guru Hargobind Ji.

Jori: a pair of drums (a larger drum and a smaller drum) played with the hands; it is the traditional percussion instrument of Sikh kirtan, associated with Guru Arjan Dev Ji.

Harmonium: a reed instrument with a keyboard, bellows, and a set of reeds; it was introduced to Sikh kirtan in the 19th century and is now widely used, though it is not a traditional instrument.

Tabla: a pair of drums (dayan and bayan) played with the hands; it is used in Sikh kirtan alongside the jori and is associated with the Hindustani tradition.

Pakhawaj: a barrel-shaped drum played with the hands; it is used in dhrupad-style kirtan and is associated with the older tradition of Sikh kirtan.

The structure of the rabab includes: the resonator (tumba), the neck (danda), the pegbox (khunti), the bridge (ghodi), and the strings; the saranda has a similar structure but is played with a bow.

Guru Nanak Dev Ji (1469-1539): founder of Sikhism, composed the Japji Sahib and other shabads, and established kirtan as the primary mode of devotion; he was accompanied by Bhai Mardana on the rabab.

Guru Angad Dev Ji (1504-1552): standardized the Gurmukhi script and collected the Guru's compositions; he promoted education and the preservation of the shabad.

Guru Amar Das Ji (1479-1574): composed the Anand Sahib and the Lavan, institutionalized the Anand Karaj, and established the manji system.

Guru Ram Das Ji (1534-1581): founded Amritsar, composed the four Lavan, and contributed shabads in various raags.

Guru Arjan Dev Ji (1563-1606): compiled the Adi Granth in 1604, arranged the shabads by raag, and composed the Sukhmani Sahib; he is associated with the saranda.

Guru Hargobind Ji (1595-1644): introduced the concept of Miri-Piri and the Akal Takht; he is associated with the taus and promoted kirtan alongside martial training.

Guru Tegh Bahadur Ji (1621-1675): composed shabads in various raags, including the Salok Mahalla 9; his compositions are included in the Guru Granth Sahib.

Guru Gobind Singh Ji (1666-1708): founded the Khalsa in 1699, composed the Dasam Granth, and established the tradition of kirtan in the Khalsa; he is associated with the rabab and the taus.

Kirtan maryada requires: (1) the correct raag as indicated in the Guru Granth Sahib, (2) correct pronunciation (shabad uchcharan), (3) correct taal, (4) devotion (bhakti), and (5) the use of traditional instruments where possible.

The shabad should be sung in the raag prescribed in the Guru Granth Sahib; deviation from the raag is considered a departure from maryada, though some flexibility is allowed in practice.

The shabad's text must be pronounced correctly; incorrect pronunciation changes the meaning and is considered disrespectful; the singer should learn Gurmukhi pronunciation and the correct intonation.

Kirtan is performed at prescribed times: Raag Asa in the early morning, Raag Bilaval in the afternoon, Raag Sorath in the evening, and Raag Kanra at night; the time of performance is part of the raag's identity.

The shabad should be sung with the correct taal and at the correct tempo (laya); the percussionist and the singer must coordinate to arrive at sam together.

Kirtan in the presence of the Guru Granth Sahib requires: (1) removing shoes, (2) covering the head, (3) sitting on the floor, and (4) maintaining a respectful posture; the singer should not turn their back to the Guru Granth Sahib.

The shabad's application in daily life (vichar) follows the kirtan; the singer and the congregation reflect on the shabad's meaning and its relevance to their lives.

Kirtan maryada also includes: (1) the use of the rabab, saranda, taus, and jori where possible, (2) the avoidance of inappropriate instruments, and (3) the preservation of the traditional raag framework.