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The next composition has two parts - (1) "[[So Dar]]" and (2) "[[So Purkh]]". The [[Bani]],  "So Dar" contains 5 [[Shabad]]s and "So Purkh" contains 4 [[Shabad]]s. This form most of the evening prayer of the Sikhs and is called the [[Rehras]]. After this is the [[Bani]] called [[Sohila]] (full name, [[Kirtan Sohila]]), which contains 5 [[Shabad]]s and  is the bed-time prayer.
The next composition has two parts - (1) "[[So Dar]]" and (2) "[[So Purkh]]". The [[Bani]],  "So Dar" contains 5 [[Shabad]]s and "So Purkh" contains 4 [[Shabad]]s. This form most of the evening prayer of the Sikhs and is called the [[Rehras]]. After this is the [[Bani]] called [[Sohila]] (full name, [[Kirtan Sohila]]), which contains 5 [[Shabad]]s and  is the bed-time prayer.


===The 31 Ragas===
===The 60 Ragas===
{{Main|Sikh Ragas}}
A raga is a complex structure of musical melody used in the Indian classical music. It is a set of rules of how to build a melody which can ignite a certain mood[1] in the reciter and listeners. The Sikh holy scripture, Guru Granth Sahib, is composed in and divided by 60 ragas. Each raga is a chapter or section in the Guru Granth Sahib starting with Asaa raag, and all the hymns produced in Asaa raag are found in this section ordered chronologically by the Guru or other Bhagat that have written hymns in that raga. There are many websites on the internet giving wrong information about raags.
The Adi Granth starts with the a non-raga section which begins with [[Japji]] as the first entry followed by [[Rehras]] and ending with [[Kirtan Sohila]]. Then begins the main section consisting of 31 [[Raga]]s or chapters. A raga is a musical structure or set of rules of how to build a melody. It specifies a scale, as well as rules for movements up and down the scale; which notes should figure more and which notes should be used more sparingly; etc. The result is a framework that can be used to compose or improvise melodies in, so that melodies in a certain raga will always be recognisable yet allowing endless variation.
Following is the list of all sixty Raags under which Gurbani is written, in order of appearance.
1. Asa 2. Gujari 3. Gauri Deepaki 4. Dhanasri 5. Gauri Poorabi 6. Siri 7. Majh 8. Gauri Guarairee 9. Gauri 10. Gauri Dakhani 11. Gauri Chaitee 12. Gauri Bairagan 13. Gauri Poorabi Deepaki 14. Gauri Malva 15. Gauri Mala 16. Gauri Majh 17. Gauri Sorath 18. Asavari 19. Asa Kafi 20. Asa Asavari 21. Devgandhari 22. Bihagra 23. Vadhans 24. Vadhans Dakhani 25. Sorath 26. Jaitsri 27. Todi 28. Bairarri 29. Tilang 30. Tilang Kafi 31. Suhee 32. Suhee Kafi 33. Suhee Lalit 34. Bilaval 35. Bilaval Dakhani 36. Gound 37. Bilaval Gound 38. Ramkali 39. Ramkali Dakhani 40. Nut Narayan 41. Nut 42. Mali Gaura 43. Maru 44. Maru Kafi 45. Maru Dakhani 46. Tukhari 47. Kedara 48. Bhairo 49. Basant 50. Basant Hindol 51. Sarang 52. Malhar 53. Kanra 54. Kaliyan 55. Kaliyan Bhopali 56. Parbhati 57. Parbhati Bibhas 58. Bibhas Parbhati 59. Parbhati Dakhani 60. Jaijavanti
 
Raags are used in Sikh music simply to create a mood, and are not restricted to particular times. A mood can be created by the music of the raag regardless of the time of day. There are a total of 60 raags or melodies within the Guru Granth Sahib. Each melody sets a particular mood for the hymn, adding a deeper dimension to it. The Guru Granth Sahib is incorrectly thought by many to have just 31 raags or melodies. Raag data kindly provided by Prof. Surinder Singh from Raj Academy.
 
1. Raag Aasaa (ਆਸਾ) – Aasaa has strong emotions of inspiration and courage. This Raag gives the listener the determination and ambition to put aside any excuses and to proceed with the necessary action to achieve the aim. It generates feelings of passion and zeal to succeed and the energy generated from these feelings enables the listener to find the strength from within to achieve success, even when the achievement seems difficult. The determined mood of this Raag ensures that failure is not an option and motivates the listener to be inspired.
2. Raag Gujari (ਗੂਜਰੀ) – If there is a perfect simile for Raag Gujari, it would be that of a person isolated in the desert, who has their hands cupped, holding water. However, it is only when the water begins to slowly seep through their joined hands that the person comes to realise the real value and importance of the water. Similarly Raag Gujari leads the listener to realise and become aware of passing time and in this way comes to value the precious nature of time itself. The revelation brings the listener to an awareness and admission of their own death and mortality, making them utilize their remaining ‘life time’ more wisely.
3. Raag Gauri Deepaki (ਗਉੜੀ ਦੀਪਕੀ) – In the Guru Granth Sahib, there is one shabad (hymn) under the title Raag Gauri Deepaki. In this shabad, Sohila is a lorrie (lullaby), which is narrating a kind of bedtime story. This Raag generates feelings of warmth and security, just like a mother singing a lullaby to her child. Lullabies were traditionally used not only as a way of comforting a child, but also as a means in which mothers shared their past experiences and knowledge. Similarly this Raag enlightens the listener through knowledge and experience and brings them to the realization that to gain the truth, you must first realize that you are in darkness. This enlightened state gives the listener a feeling of certainty, fearlessness and a new hope for the future.
4. Raag Dhanasari (ਧਨਾਸਰੀ) – Dhanasari is a sense of being completely carefree. This sensation arises from a feeling of contentment and ‘richness’ from the things we have in our lives and gives the listener a positive and optimistic attitude towards the future.
5. Raag Gauri Purbi (ਗਉੜੀ ਪੂਰਬੀ) – Gauri Purbi contains strong emotions of experience along with feelings of preparation, in order to go further and to achieve more. Although there are confident feelings in this Raag, there is a sense of uncertainty as there is a heartfelt request for help to achieve the desired goal. The sentiments of this Raag are well considered assessments of the circumstances, without excess confidence or extreme helplessness.  
6. Raag Siri Raag (ਸਿਰੀ ਰਾਗੁ) – The basis of this Raag is steeped in the traditions of mainstream Indian Classical music. Siri Raag is serious and thought provoking in its nature and creates an atmosphere where the listener is led to heed the advice given therein. The listener (the mind) is made aware of the truth of the message and with this ‘education’ is given the strength to face the future with both humility and the ‘gained’ knowledge.
7. Raag Majh (ਮਾਝ) – Raag Majh was composed by the Fifth Sikh Guru (Shri Guru Arjun Dev ji). The Raag’s origins are based in Punjabi Folk Music and its essence was inspired by the Majha regions traditions of ‘Ausian’; the game of waiting and yearning for the return of a loved one. The feelings evoked by this Raag have often been compared to that of a mother waiting for her child to return after a long period of separation. She has an anticipation and hope for the child’s return, although at the same moment she is painfully aware of the uncertainty of their return home. This Raag brings to life the emotion of extreme love and this is highlighted by the sorrow and anguish of separation.
8. Raag Gauri Guarairi (ਗਉੜੀ ਗੁਆਰੇਰੀ) – Gauri Guarairi contains a mixture of calmness and control in feeling, however the emotional message of the Raag is open and truthful in its approach. The emotions are conveyed in a direct and disciplined way. The balanced and focused character of this Raag is evident in its structure, in that its scale is restricted to ‘madh saptak’ (middle scale).
9. Raag Gauri (ਗਉੜੀ) – Gauri creates a mood where the listener is encouraged to strive harder in order to achieve an objective. However, the encouragement given by the Raag does not allow the ego to increase. This therefore creates the atmosphere where the listener is encouraged, but still prevented from becoming arrogant and self-important.
10. Raag Gauri Dakhani (ਗਉੜੀ ਦਖਣੀ) – Gauri Dakhani has a similar nature to Gauri; however, the South Indian style of this Raag, including the taal (rhythm) highlights the strict and disciplined aspect of Gauri.
11. Raag Gauri Chayti (ਗਉੜੀ ਚੇਤੀ) – Gauri Chayti generates a deliberate sensation of fear by creating a conscious reminder of what may occur if we loose the things we take for granted. It awakens feelings of panic and regret, by exposing the listener to the possible outcome of what might happen should this warning not be heeded.
12. Raag Gauri Bairagan (ਗਉੜੀ ਬੈਰਾਗਣਿ) – As the title suggests Gauri ‘Bairagan’ is a Raag of bairaag (sadness of separation). The listener is left with an intense feeling of sorrow and emptiness. However, the balance of Raag Gauri ensures that this sense of loss and sadness motivates the listener to try to discover exactly what is missing. Gauri Bairagan therefore evokes feelings of sadness, which become a lesson, as opposed to creating a sense of depression.
13. Raag Gauri Purbi Deepaki (ਗਉੜੀ ਪੂਰਬੀ ਦੀਪਕੀ) – The tone of this Raag is that of self-assessment with a positive attitude of improvement. It creates an atmosphere of constantly progressing with confidence and experience, as well as instilling a positive belief of enduring achievement.
14. Raag Gauri Majh (ਗਉੜੀ ਮਾਝ) – Gauri Majh is a well-planed emotional ‘act’, which reaches out to fulfil a yearning created by the Raag. This yearning is similar to that of Raag Majh’s regret, hope and anticipation, however in this instance it is created deliberately in order to sway the listener to react to the longing.
15. Raag Gauri Malva (ਗੌੜੀ ਮਾਲਵਾ) – Gauri Malva is based on Punjabi Folk music and is influenced by the ‘Malva’ region of Punjab and the Malvaee hospitality. The nature of this Raag can be compared to the thoughtful, very serious, yet caring advice given by a true friend. The Raag persuades the listener with such truth and friendliness, that it is impossible to disagree, even if the listener does not like the advice being given.
16. Raag Gauri Mala (ਗਉੜੀ ਮਾਲਾ) – The essence of Gauri Mala is a combination of good, pure, true and positive thoughts added together one by one. There is a feeling of having worked hard and an increased energy, which encourages more devotion towards the truth.
17. Raag Gauri Sorath (ਗਉੜੀ ਸੋਰਠਿ) – Gauri Sorath has a definite feeling of attraction and appeal, which woos the listener’s attention to the subject matter or target. However, the feelings of being enticed and lured are balanced with a sense of duty and realisation, of needing to obey the warning given.
18. Raag Aasaa Kafi (ਆਸਾ ਕਾਫੀ) – Aasaa Kafi has a carefree and self-assured nature. It is confident in its outlook and does not hold onto any false hopes. The feelings of boundless energy, along with the confidence gained by previous experiences, create an inspirational atmosphere for the listener.
19. Raag Asavari (ਆਸਾਵਰੀ) – Asavari has an atmosphere of real energy and enthusiasm, which encourages the listener to complete the necessary tasks. However, the mood of this Raag is genuine and there is therefore no pretence of showing off its hardworking nature.
20. Raag Aasaa Asavari (ਆਸਾ ਆਸਾਵਰੀ) – Aasaa Asavari provides a sense of assurance to achieve your desired goal with courage, love and confidence. It is a precise direction toward achieving a set outcome, with confidence and positivity fuelled with a burst of energy. The nature of this raag is to produce a strong sense of capability in the listener, converting energy into passion with the motivation to repeat this positivity. The strength of this raag churns out the best of a personality providing the individual with the necessary knowledge to bring thoughts into action.
21. Raag Devgandhari (ਦੇਵਗੰਧਾਰੀ) – Devgandhari conveys the feeling of satisfaction that comes from making an achievement. These emotions make the listener feel empowered to do more and diminish any feelings of laziness. This state of satisfaction is that of extreme happiness and contentment, and leaves the listener with the feeling of being in paradise.
22. Raag Bihagara (ਬਿਹਾਗੜਾ) – The mood of Bihagara is that of extreme sadness and pain, which gives rise to the need to find peace and understanding. The heightened emotional state of sadness is only harnessed by the craving for truth and meaning.
23. Raag Vadhans (ਵਡਹੰਸੁ) – Vadhans is based on Punjabi Folk music and is set in the traditions of ‘Ghoreea’, ‘Suhag’ and ‘Alohnian’. The feelings instilled by this Raag can be compared to those of a bride on the day of her wedding; she is happy and sad. Although she is going to her groom, who fills her with hope and joy, she is also sad to be leaving her family.
24. Raag Vadhans Dakhani (ਵਡਹੰਸੁ ਦਖਣੀ) – The mood of this Raag is very similar to Raag Vadhans, however due to its South Indian style of expression, it is more disciplined in its nature.
25. Raag Sorath (ਸੋਰਠਿ) – Sorath conveys the feeling of having such a strong belief in something that you want to keep repeating the experience. In fact this feeling of certainty is so strong that you become the belief and live that belief. The atmosphere of Sorath is so powerful, that eventually even the most unresponsive listener will be attracted.
26. Raag Jaitsiri (ਜੈਤਸਰੀ) – Jaitsiri conveys the heartfelt emotion of not being able to live without someone. Its mood is preoccupied with feelings of dependence and an overwhelming sense of desperately reaching out to be with that person.
27. Raag Todi (ਟੋਡੀ) – Todi consists of both wisdom and humbleness. It is through these sentiments that the Raag takes a simple approach to explain things that we may be aware of, but fail to ponder upon. The Raag draws the attention of the listener to contemplate these things and gives an explanation with such conviction, that we are compelled to agree.
28. Raag Bairari (ਬੈਰਾੜੀ) – Bairari stimulates the feeling of improving and continuing with a task, which has already been accomplished. It is an unmoving belief that what has been achieved is true and positive, which leads to a hunger and desire to progress to the next stage. Although there is immense confidence in the achievement, there is no conceit or vanity in the accomplishment.
29. Raag Tilang (ਤਿਲੰਗ) – Tilang is full of the feeling of having tried hard to impress, but the feeling that the effort made has not been appreciated. However, the atmosphere is not of anger or upset, but of brooding, as the person you are trying to impress is very dear to you.
30. Raag Tilang Kafi (ਤਿਲੰਗ ਕਾਫੀ) – As with Tilang, this Raag contains the feeling that your effort has been unappreciated, when trying to impress someone. However, in contrast to Raag Tilang, the individual is unperturbed by this feeling. This differentiating aspect arises from the deep love for the person concerned, which prevents the individual from becoming annoyed at the apparent lack of approval.
31. Raag Suhi (ਸੂਹੀ) – Suhi is an expression of such devotion that the listener experiences feelings of extreme closeness and undying love. The listener is bathed in that love and genuinely comes to know what it means to adore.
32. Raag Suhi Kafi (ਸੂਹੀ ਕਾਫੀ) – Suhi Kafi expresses feelings of deep love and security, like that of a child and a parent. A young child feels secure and safe, when surrounded in their parents love. The love felt is so strong that there are no worries and the individual gains a certain confidence from being so secure.
33. Raag Suhi Lalit (ਸੂਹੀ ਲਲਿਤ) – Suhi Lalit contains feelings of emotional resolve. However, there is also a volatile characteristic in that although there is love in these emotions, there is a willingness to step over the line to attain the goal.
34. Raag Bilaval (ਬਿਲਾਵਲ) – Bilaval conveys the emotions of great happiness that come from having attained a goal or achieved an aim. It is an overwhelming feeling of fulfilment, satisfaction and joy, that is experienced when the accomplishments is very important and dear to you. The happiness felt is like laughing out loud, there is no planning or any ulterior motive; it’s just a natural expression of heartfelt happiness arising from a sense of achievement.
35. Raag Bilaval Dakhani (ਬਿਲਾਵਲ ਦਖਣੀ) – This Raag is full of energy, which is shown by the fast rhythm and singing of the South Indian style of expression. The feelings of Bilaval Dakhani are of confidence and happiness, which arises from having achieved the unachievable.
36. Raag Gond (ਗੋਂਡ) – Gond is an expression of triumph, however these feelings are balanced and in perspective ensuring that there is also an aspect of humility. Therefore, although there is a sense of knowing and understanding the achievement, there is not a feeling of becoming obsessed or getting lost in the achievement itself.
37. Raag Bilaval Gond (ਬਿਲਾਵਲ ਗੋਂਡ) – Bilaval Gond consists of emotions of courage and conviction. The atmosphere created by the Raag is that of abstract happiness, however it is still disciplined enough to not be out of control. This Raag expresses its emotions poignantly, with insight and has a thoughtful strategy. It expresses feelings of confidence and happiness, but without any pride.
38. Raag Ramkali (ਰਾਮਕਲੀ) – The emotions in Ramkali are like those of a wise teacher disciplining their student. The student is aware of the pain of learning, but is still conscious of the fact that ultimately it is for the best. In this way Ramkali conveys the change from all that we are familiar with, to something we are certain will be better.
39. Raag Ramkali Dakhani (ਰਾਮਕਲੀ ਦਖਣੀ) – The emotions created by Ramkali Dakhani are those of change from old to new and there is a surety that this alteration is advantageous. These feelings are highlighted and emphasised by the South Indian rhythm and style of expression.
40. Raag Nat Narayan (ਨਟ ਨਾਰਾਇਨ) – Nat Narayan consists of feelings of hastiness and impatience, however simultaneously there is stability and control. Although there is control in the Raag, there is still the impression that it is unbalanced and prone to topple at any time.
41. Raag Nat (ਨਟ) – Nat creates the impression of being wild and uncontrollable and appears extreme in its feeling. It conveys the feeling of being out of control and on the edge, however it returns from the brink, by reestablishing control and stability, and hence creating a sense of relief. This Raag uses its expertise in this way to create feelings of suspense.
42. Raag Mali Gaura (ਮਾਲੀ ਗਉੜਾ) – Mali Gaura conveys the confidence of an expert, whose knowledge is self-evident in both their outlook and actions. This knowledge is learned through experience and therefore creates an air of ‘coolness’. However, this sense of ‘coolness’ is an aspect of true happiness because you have learned how to manage things with expertise and skill.
43. Raag Maru (ਮਾਰੂ) – Maru was traditionally sung on the battlefield in preparation for war. This Raag has an aggressive nature, which creates an inner strength and power to express and emphasise the truth, regardless of the consequences. Maru’s nature conveys the fearlessness and strength that ensures the truth is spoken, no matter what the cost.
44. Raag Maru Kafi (ਮਾਰੂ ਕਾਫੀ) – Although Maru Kafi is forceful and blunt in its nature, it still expresses its emotions in a sweet and attractive way. This Raag is uncompromising in its nature, yet it retains the ability and charm to win the listener over with its relaxed and self-assured approach. As the listener, it makes you feel willing to listen even though the sentiments are harsh and direct.
45. Raag Maru Dakhani (ਮਾਰੂ ਦਖਣੀ) – Maru Dakhani expresses feelings of truth and reality in an uncompromising and outspoken way, which is emphasised by the South Indian style of expression and taal.
46. Raag Tukhari (ਤੁਖਾਰੀ) – Tukhari conveys the soul’s strong ambition to highlight the greatness of The Creator to the mind. This goal is of paramount importance to the soul and it will therefore, not give up even if stubborn mind is unresponsive. This Raag illustrates the soul’s focus on its goal, by conveying its message to the mind directly and then adopting a softer approach. The feelings of this Raag are dominated by the soul’s burning desire to convince the mind to follow its plan of enlightenment and hence becoming one with Akaal (God).
47. Raag Kedara (ਕੇਦਾਰਾ) – Kedara expresses and makes the mind aware of the true character and nature of the soul. It conveys the emotions of honesty, integrity and truthfulness in a practical and caring way. This approach highlights the soul’s character and is memorable, so that the mind is made aware, without arousing cynicism.
48. Raag Bhairao (ਭੇਰੳ) – Bhairao embodies the soul’s faith and heartfelt devotion towards The Creator. It is a kind of fanaticism, where there is a feeling of not being aware or caring about anything else. The emotions conveyed are those of contentment and of being absorbed in a steadfast belief or faith. In this Raag, the soul is relaying the happiness that the mind could potentially experience if it joined in with this devotion
49. Raag Basant (ਬਸੰਤੁ) – Basant denotes the changing of the season and the newness of spring. This Raag encourages the mind to brush away its selfishness, just like spring-cleaning removes all the cobwebs and creates a fresh start. There are feelings of hope and expectation of a new beginning and the start of a new cycle. However, these emotions are not dependent on the physical change of the season, but are an encouragement of an internal effort to change.
50. Raag Basant Hindol (ਬਸੰਤੁ ਹਿੰਡੋਲ) – Basant Hindol conveys the freshness and happiness of a new start and expresses the type of contentment, which comes from working hard to make a change. This Raag is full of hope and creates a sense of being at ease and being satisfied because a new chapter is beginning.
51. Raag Sarang (ਸਾਰੰਗ) – Sarangs character is soothing and has the ability to extinguish the minds smouldering selfishness and negative nature. The emotions of Sarang quench the minds burning desires, by expressing and highlighting the soul’s pure and true thoughts. This is a positive and fulfilling change.
52. Raag Malhar (ਮਲਾਰ) – Malhar is a communication of feelings from the soul, to show the mind how to become cool and refreshed. The mind is always burning with the desire to reach its goals quickly and without effort, however the emotions conveyed in this Raag are able to bring composure and fulfilment to the mind. It is able to bring the mind into this calmness, bringing a sense of satisfaction and contentment.
53. Raag Kaanara (ਕਾਨੜਾ) – Kaanara invokes feelings of being overcome by a personality, which is so impressive that its character is difficult to stop thinking about. The personality conveyed has a magnetism, which makes you think of them as your own and is able to win you over with its remarkable qualities and outlook.
54. Raag Kalian (ਕਲਿਆਨ) – Kalian has a forceful, yet flexible nature. It conveys a desire for something and a resolve to attain it, by whatever means possible. Although determined in its desire, Kalian sometimes uses an accommodating approach and at other times has an aggressive approach, in order to reach its goal. This Raag has a determined, forceful, yet persuasive character, through which it fulfils its desire.
55. Raag Kalian Bhopali (ਕਲਿਆਨ ਭੋਪਾਲੀ) – Kalian Bhopali’s nature is direct and insistent. Just as in Kaliyaan, this Raag conveys the feeling of determination to fulfil its desires. However, in contrast it is not flexible in its approach, as the desired goal is tackled head-on and in a regimented fashion. There is no hesitation and it is only focused on its goal.
56. Raag Parbhati Bibhas (ਪ੍ਰਭਾਤੀ ਬਿਭਾਸ) – Parbhati Bibhas expresses the feelings of compromise between the mind and the soul; a common understanding between the selfishness of the mind and the devotion of the soul evolves. The atmosphere created is like the calmness and serenity of daybreak, along with a sense of preparation for the day to unfold. The ‘partaal’ rhythm represents the change in the method, which is induced by compromise, however it also highlights the balance of concentration.
57. Raag Parbhati (ਪ੍ਰਭਾਤੀ) – The emotions conveyed in Parbhati are those of extreme devotion; there is an intense confidence and love for the entity it is devoted to. This affection arises from knowledge, common sense and a detailed study. There is therefore an understanding and a considered will to devote itself to that entity.
58. Raag Parbhati Dakhani (ਪ੍ਰਭਾਤੀ ਦਖਣੀ) – The nature of Parbhati Dakhani is very similar to that of Parbhati, except that the feelings of devotion are more disciplined. This discipline arises from the South Indian style of expression of this Raag.
59. Raag Bibhas Parbhati (ਬਿਭਾਸ ਪ੍ਰਭਾਤੀ) – Bibhas Parbhati has a self-assured character and has a sense of certainty, which arises from the knowledge gained through awareness. It conveys the wisdom achieved from learning, which inspires contentment. However, this wisdom is not arrogant, but is gentle in its persuasion because there is not a need to ‘show-off’ this knowledge, but a desire to share it, so the recipient is able to learn.
60. Raag Jaijavanti (ਜੈਜਾਵੰਤੀ) – Jaijavanti expresses the feeling of happiness and satisfaction of achievement, however it simultaneously conveys the sadness of losing. An apt simile for this Raag is that of a king winning a battle, however he is then told that his son has perished on the battlefield. This Raag conveys a sense of having to put your duty first, no matter what your inner feelings may be. The duality of the emotions of joy and sorrow help to keep you stable and prevent you reveling in your own achievement.


Just as a raga has emotional overtone, so each chapter has spiritual implication. The thirty-one ragas appear in the following serial order: [[Sri raga]], [[Manjh]], [[Gauri]], [[Asa]], [[Gujri]], [[Devagandhari]], [[Bihagara]], [[Wadahans]], [[Sorath]], [[Dhanasri]], [[Jaitsri]], [[Todi]], [[Bairari]], [[Tilang]], [[Suhi]], [[Bilaval]], [[Gond]] (Gaund), [[Ramkali]], [[Nut-Narayan]], [[Mali-Gaura]], [[Maru]], [[Tukhar]], [[Kedara]], [[Bhairav]] (Bhairo), [[Basant]], [[Sarang]], [[Malar]], [[Kanra]], [[Kalyan]], [[Prabhati]] and [[Jaijawanti]].


Within the 1430 pages are found [[Salok]]s of [[Bhagat Kabir]], [[Sheikh Farid]], [[Guru Tegh Bahadur]], etc.
Within the 1430 pages are found [[Salok]]s of [[Bhagat Kabir]], [[Sheikh Farid]], [[Guru Tegh Bahadur]], etc.

Revision as of 03:55, 26 December 2018

The Sri Guru Granth Sahib on the first floor of Harimandir Sahib

Guru Granth Sahib or Adi Sri Granth Sahib Ji (Punjabi ਗੁਰੂ ਗ੍ਰੰਥ ਸਾਹਿਬ; also called the Adi Granth or Adi Guru Darbar) is more than just a scripture of the Sikhs, for the Sikhs regard and respect the Granth (holy book) as their living Guru. The revealed holy text spans 1430 pages and contains the actual words spoken by the founders of the Sikh religion (the Ten Gurus of Sikhism).

Guru Granth Sahib was bestowed the Guruship by the last of the human form Sikh Masters, Guru Gobind Singh Ji in 1708. Before passing away, Guru Gobind Singh Ji decreed that the Sikhs were to regard the Granth Sahib as their next and everlasting Guru. Guru Ji said – “Sab Sikhan ko hokam hai Guru Manyo Granth” meaning “All Sikhs are commanded to take the Granth as Guru”. So today, if asked, the Sikhs will tell you that they have a total of 11 Gurus. (10 Gurus in human form, and the eternal shabad Guru, the Guru Granth Sahib).

Unique amongst the world's major religious scriptures, while compiling the Guru Granth Sahib, the Sikh Gurus incorporated not only their own writings, but also included the writings of other contemporary saints from Hinduism and Islam (including saints belonging to the lowest strata of untouchables in the Hindu Caste System), who believed in the unity of God and denounced superstition and caste. Further, the composition and compilation of the Guru Granth Sahib was performed by the Sikh Gurus themselves, rather than being performed by their adherents and followers, an aspect that has been highlighted by historian-scholars while discussing the authenticity of the preachings of the different teachers and prophets of the world, as known to mankind today.

When one visits a Gurdwara (a Sikh temple), the Guru Granth Sahib forms the main part of the Darbar Sahib or Main Hall. The holy book is placed on a dominant platform and covered in a very beautiful and attractively coloured fine cloth. The platform is always covered by a canopy, which is also decorated in expensive and very attractive coloured materials. The text in which the Granth is written is a script called Gurmukhi (literally "From the Guru's mouth"), which is considered a modern development of the ancient language called Sanskrit.

History & Composition of Guru Granth Sahib

Guru Nanak brought the Word of God to manifest upon Earth. Through his Hymns and Prayers (Shabads), he inspired and uplifted humankind to live a life of truth, righteousness and spirituality. These enlightening words were sung by his companions, Bala and Mardana, and by the Sangats (congregations) tha grew up around Guru Nanak. In his later years at Kartarpur, it became customary for the members of the Sikh community to sing certain hymns on a daily basis: Japji in the morning; So Dar and So Purakh, the beginnings of Rehiras, in the evenings.

Guru Angad, Guru Amar Das and Guru Ram Das all composed Shabads (hymns), and the Sikhs began to collect these in small books, called Pothis. Chanting these Shabads, the Sikhs became vehicles for the vibrations of the "Word of God", and they achieved a state of higher consciousness, a transcendent meditative union with God and Guru.

Standardisation of Shabads

A Granthi reads from the Sri Guru Granth Sahib on the first floor of Harimandir Sahib

Even early in Sikh history, however, there were mal-quotations, and pretenders to the Throne of Spirituality. The elder brother of Guru Arjun, Prithia, composed his own hymns and passed them off as writings of Guru Nanak. Although pothis existed of authentic Gurbani, there were many different collections of Shabads, and many differing versions of the same Shabads.

Guru Arjun realized that a standardized, authenticated collection of the Guru’s Bani (called Gurbani) was needed to preserve the integrity of the Shabad. The most complete collection of Shabads of Guru Nanak, Guru Angad and Guru Amar Das was in the possession of Mohan, a son of Guru Amar Das.

Retrieving the Pothi from Mohan

Guru Arjun sent Bhai Gurdas to Mohan’s home in Goindwal, to request this collection of Shabads. Mohan felt slighted at having been passed over for Guruship — his father, Guru Amar Das, had seen the Divine Light in Guru Ram Das, and had bestowed the Guruship upon him. Mohan refused to answer the door when Bhai Gurdas knocked, and Bhai Gurdas returned to Guru Arjun empty-handed.

Guru Arjun then sent Baba Buddha to Mohan’s house. Baba Buddha was by then a very old and respected man in the Sikh community, having been a disciple of all the Gurus, from Guru Nanak through Guru Arjun. When Mohan did not answer Baba Buddha’s knock, he entered the house anyway. Inside, he found Mohan in a deep meditative trance. Mohan’s younger brother convinced Baba Buddha not to disturb him, and Baba Buddha also returned to Guru Arjun empty-handed.

So it was that in 1603, Guru Arjun found it necessary to go in person to Mohan’s house, to retrieve the Shabads. When Guru Arjun approached Mohan’s house, rather than knocking he called out in a sweet voice, but there was no response. The Guru sat upon his doorstep and began to sing these lines:

"Oh, Mohan, your mansion is so lofty, there is no other place like yours.
Oh, Mohan, even the Saints adorn the door of your temple.
Show compassion and kindness, Oh Kind Lord—be merciful to the poor.
Says Nanak, I am thirsting for the Blessed Vision of Your Darshan, Grant me this gift and I shall be happy."
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Mohan (in Punjabi) is one of the names of God, when calling upon Him as the Beloved. When Guru Arjun sang this Hymn, he was singing the Praises of God, in the form of a song to win Mohan’s heart. Mohan threw open the window and called out to Guru Arjun, "You stole the Guruship from my family, and now you come to steal what remains of my heritage!"

Guru Arjun responded with sweet words:

"Oh Mohan, your words are like no others, and your behavior is exemplary.
Oh Mohan, you believe in the One God and treat all others as garbage.
Says Nanak, please preserve my honor - all your servants seek Your Sanctuary."

Mohan grumbled and protested, muttering about his claim to the Shabads. But finally, he came down and sat by Guru Arjun, as the Guru continued to sing,

"Oh Mohan, the Sadh Sangat, the Company of the Holy,

meditates upon You, and yearns to obtain the Blessed Vision of Your Darshan.

Oh Mohan, at the very last moment of life, death shall not approach You.
All who worship You in thought, word and deed shall obtain Your Gifts.
Even the impure, the stupid and the foolish obtain Divine Knowledge upon seeing You.
Says Nanak, Oh God, You are present within all,
You are above all."

Gazing upon Guru Arjun’s enlightened face, feeling the love and radiance emanating from him, hearing the sweet words of love and humility, Mohan’s heart was softened, and opened at last. He acknowledged Guru Arjun’s true place upon the throne of Guru Nanak, and gave all of the Shabads in his possession to Guru Arjun.

Work begins to compile the Adi Granth

Guru Arjun then set to compile the Shabads into a single volume, the Adi Granth. He sifted through the Shabads which had been passed down from the first four Gurus, and filtered out those which had been added by imposters. Bhai Gurdas Ji was the scribe who recorded the words of Guru Arjun. When he asked Guru Arjun how he could distinguish between the true and the false Shabads, Guru Arjun replied, "Even in a great herd of cows and calves, the mother cow will recognize the cry of her calf, above all others. Just so, the True Shabad resonates truly, and is easily distinguished from the false."

Guru Arjun added a great many of his own Shabads to those of Guru Nanak Dev Ji, Guru Angad Dev Ji, Guru Amar Das Ji, and Guru Ram Das Ji. He also added Shabads of thirty-six Hindu and Muslim Saints, among them Kabir Ji, Ravi Das Ji, Naam Dev Ji, Trilochan Ji, and Sheikh Farid Ji. This was the first time any religion incorporated the works of sincere devotees of other religions into its own scripture; this reflects the universality of thought which underlies the Sikh belief in One God, and the one family of humanity as children of God.

Guru Arjun left some blank pages in the Granth. When Bhai Gur Das asked the purpose of this, he answered that one of the Gurus to follow him would add the Shabads in their proper place at the proper time. In time the shabads of Guru Teg Bahadur, the ninth Manifestation of the Guru’s Light, were added by Guru Gobind Singh and thus the Siri Guru Granth Sahib was complete.

First installation of the holy Granth

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The Adi Granth was completed in 1604, and installed in the Golden Temple; Baba Buddha was appointed Guru's Granthi. Guru Arjun told his Sikhs that the Adi Granth was the embodiment of the Guru, and should be treated in the same fashion as they respect him. When Guru Arjun first completed the Adi Granth, he placed it upon his own bed and slept on the floor. Its words were written without any spaces or breaks, which nowadays is hard for most people to follow.

Guru Gobind Singh, the tenth and last of the Sikh Gurus to take human form, dictated the entire Granth Sahib at Talwandi Sabo now called Damdama Sahib. Dhir Mal, the son of Baba Gurditta and grandson of Guru Hargobind, had taken possession of the Adi Granth; he refused to give it to Guru Gobind Singh when the Guru asked for it. Dhir Mal taunted the Guru, "If you are a Guru, then prepare your own."

Guru Gobind Singh recreates holy Granth

Guru Gobind Singh proceeded to dictate it to Bhai Mani Singh, who recorded it on paper. While some have questioned the authenticity of this story, it is well for us to remember that, of course, Guru Gobind Singh was no ordinary person at all. And, in the old days of bards and story-tellers, it was not unusual for them to recite from memory entire epic poems. Hajis, for example can recite the entire Qur'an and many Hindus priests could recite the Mahabarata. In a time when many people could not read or write, oral traditions were very important. The Sri Guru Granth Sahib is like the Qur'an and the Gita and is set in the form of music and rhythm making them much easier to remember.

Guru Gobind Singh included the Shabads of his father, Guru Teg Bahadur, but he did not include his own Shabads; instead, he placed them in a separate Granth, the Dasam Granth. The Dasam Granth is not revered as Guru, however. The great task of re-writing the entire Guru was finally completed in 1705. The "Damdama Sahib Bir" as it is now called was then taken to Nanded where it was installed.

Installation as Perpetual Sikh Guru

Guru Gobind Singh installed this expanded version of the Adi Granth as Guru on October 20, 1708. This day is celebrated today as Guru Gadi Divas (Enthronement Day). At the time of his death, he declared that the Word of God embodied in the Siri Guru Granth Sahib was to be Guru for all time. He said, "O Beloved Khalsa, let any who desire to behold me, behold the Guru Granth. Obey the Granth Sahib, for it is the visible body of the Guru. Let any who desire to meet me, diligently search its Bani." Thus the Word of God, which has manifested as Guru in Nanak, and had passed through the ten incarnations of Guru, was now returned to its form as the Word, the Bani, the Shabad.

Structure of the Guru Granth Sahib

The last page from the bir of Guru Granth Sahib handwritten by Pratap Singh Giani, located on the first floor of Sri Harimandir Sahib, Amritsar.
Main article: Structure of SGGS

Within it's 1430 pages, the shabads (hymns) of the Sri Guru Granth Sahib are arranged in thirty-one Ragas, the traditional Indian musical measures and scales. Within the Ragas, they are arranged by order of the Sikh Gurus, with the shabads of the Hindu and Muslim Saints following. The shabads are written in various meters and rhythms, and are organized accordingly. For instance, Ashtapadi - eight steps, or Panch-padi - five steps. The Sri Guru Granth Sahib is written in Gurmukhi script, but the shabads were written in many different languages including Punjabi, Sanskrit and Persian.

Main article: Index of Guru Granth Sahib

The original bir of Guru Granth Sahib did not contain an index. However, this is provided in some modern print of the bir to make it easy to find the location of some of the common banis. For example, from the index, (see main article here) it can be seen that the Japji Sahib starts at page 1 and ends at page 8; Sukhmani Sahib is located from pages 262 to 296; the Bara Maha bani can is found at pages 133 to 136; The bani called Anand Sahib(Bliss) can be found at pages 917 to 922, etc.

The Beginning

The Guru Granth Sahib begins with the word "Ek Onkar" – The All Pervading Being. From this Word to the tenth Word “Gur-parshad” is called the Mool Mantra. After this is the rest of the composition called the Japji composed by Guru Nanak Dev. This comprises 38 Pauris or stanzas, a Prologue and an Epilogue. This is one of the morning prayer of the Sikhs.

The next composition has two parts - (1) "So Dar" and (2) "So Purkh". The Bani, "So Dar" contains 5 Shabads and "So Purkh" contains 4 Shabads. This form most of the evening prayer of the Sikhs and is called the Rehras. After this is the Bani called Sohila (full name, Kirtan Sohila), which contains 5 Shabads and is the bed-time prayer.

The 60 Ragas

A raga is a complex structure of musical melody used in the Indian classical music. It is a set of rules of how to build a melody which can ignite a certain mood[1] in the reciter and listeners. The Sikh holy scripture, Guru Granth Sahib, is composed in and divided by 60 ragas. Each raga is a chapter or section in the Guru Granth Sahib starting with Asaa raag, and all the hymns produced in Asaa raag are found in this section ordered chronologically by the Guru or other Bhagat that have written hymns in that raga. There are many websites on the internet giving wrong information about raags. Following is the list of all sixty Raags under which Gurbani is written, in order of appearance. 1. Asa 2. Gujari 3. Gauri Deepaki 4. Dhanasri 5. Gauri Poorabi 6. Siri 7. Majh 8. Gauri Guarairee 9. Gauri 10. Gauri Dakhani 11. Gauri Chaitee 12. Gauri Bairagan 13. Gauri Poorabi Deepaki 14. Gauri Malva 15. Gauri Mala 16. Gauri Majh 17. Gauri Sorath 18. Asavari 19. Asa Kafi 20. Asa Asavari 21. Devgandhari 22. Bihagra 23. Vadhans 24. Vadhans Dakhani 25. Sorath 26. Jaitsri 27. Todi 28. Bairarri 29. Tilang 30. Tilang Kafi 31. Suhee 32. Suhee Kafi 33. Suhee Lalit 34. Bilaval 35. Bilaval Dakhani 36. Gound 37. Bilaval Gound 38. Ramkali 39. Ramkali Dakhani 40. Nut Narayan 41. Nut 42. Mali Gaura 43. Maru 44. Maru Kafi 45. Maru Dakhani 46. Tukhari 47. Kedara 48. Bhairo 49. Basant 50. Basant Hindol 51. Sarang 52. Malhar 53. Kanra 54. Kaliyan 55. Kaliyan Bhopali 56. Parbhati 57. Parbhati Bibhas 58. Bibhas Parbhati 59. Parbhati Dakhani 60. Jaijavanti

Raags are used in Sikh music simply to create a mood, and are not restricted to particular times. A mood can be created by the music of the raag regardless of the time of day. There are a total of 60 raags or melodies within the Guru Granth Sahib. Each melody sets a particular mood for the hymn, adding a deeper dimension to it. The Guru Granth Sahib is incorrectly thought by many to have just 31 raags or melodies. Raag data kindly provided by Prof. Surinder Singh from Raj Academy.

1. Raag Aasaa (ਆਸਾ) – Aasaa has strong emotions of inspiration and courage. This Raag gives the listener the determination and ambition to put aside any excuses and to proceed with the necessary action to achieve the aim. It generates feelings of passion and zeal to succeed and the energy generated from these feelings enables the listener to find the strength from within to achieve success, even when the achievement seems difficult. The determined mood of this Raag ensures that failure is not an option and motivates the listener to be inspired. 2. Raag Gujari (ਗੂਜਰੀ) – If there is a perfect simile for Raag Gujari, it would be that of a person isolated in the desert, who has their hands cupped, holding water. However, it is only when the water begins to slowly seep through their joined hands that the person comes to realise the real value and importance of the water. Similarly Raag Gujari leads the listener to realise and become aware of passing time and in this way comes to value the precious nature of time itself. The revelation brings the listener to an awareness and admission of their own death and mortality, making them utilize their remaining ‘life time’ more wisely. 3. Raag Gauri Deepaki (ਗਉੜੀ ਦੀਪਕੀ) – In the Guru Granth Sahib, there is one shabad (hymn) under the title Raag Gauri Deepaki. In this shabad, Sohila is a lorrie (lullaby), which is narrating a kind of bedtime story. This Raag generates feelings of warmth and security, just like a mother singing a lullaby to her child. Lullabies were traditionally used not only as a way of comforting a child, but also as a means in which mothers shared their past experiences and knowledge. Similarly this Raag enlightens the listener through knowledge and experience and brings them to the realization that to gain the truth, you must first realize that you are in darkness. This enlightened state gives the listener a feeling of certainty, fearlessness and a new hope for the future. 4. Raag Dhanasari (ਧਨਾਸਰੀ) – Dhanasari is a sense of being completely carefree. This sensation arises from a feeling of contentment and ‘richness’ from the things we have in our lives and gives the listener a positive and optimistic attitude towards the future. 5. Raag Gauri Purbi (ਗਉੜੀ ਪੂਰਬੀ) – Gauri Purbi contains strong emotions of experience along with feelings of preparation, in order to go further and to achieve more. Although there are confident feelings in this Raag, there is a sense of uncertainty as there is a heartfelt request for help to achieve the desired goal. The sentiments of this Raag are well considered assessments of the circumstances, without excess confidence or extreme helplessness. 6. Raag Siri Raag (ਸਿਰੀ ਰਾਗੁ) – The basis of this Raag is steeped in the traditions of mainstream Indian Classical music. Siri Raag is serious and thought provoking in its nature and creates an atmosphere where the listener is led to heed the advice given therein. The listener (the mind) is made aware of the truth of the message and with this ‘education’ is given the strength to face the future with both humility and the ‘gained’ knowledge. 7. Raag Majh (ਮਾਝ) – Raag Majh was composed by the Fifth Sikh Guru (Shri Guru Arjun Dev ji). The Raag’s origins are based in Punjabi Folk Music and its essence was inspired by the Majha regions traditions of ‘Ausian’; the game of waiting and yearning for the return of a loved one. The feelings evoked by this Raag have often been compared to that of a mother waiting for her child to return after a long period of separation. She has an anticipation and hope for the child’s return, although at the same moment she is painfully aware of the uncertainty of their return home. This Raag brings to life the emotion of extreme love and this is highlighted by the sorrow and anguish of separation. 8. Raag Gauri Guarairi (ਗਉੜੀ ਗੁਆਰੇਰੀ) – Gauri Guarairi contains a mixture of calmness and control in feeling, however the emotional message of the Raag is open and truthful in its approach. The emotions are conveyed in a direct and disciplined way. The balanced and focused character of this Raag is evident in its structure, in that its scale is restricted to ‘madh saptak’ (middle scale). 9. Raag Gauri (ਗਉੜੀ) – Gauri creates a mood where the listener is encouraged to strive harder in order to achieve an objective. However, the encouragement given by the Raag does not allow the ego to increase. This therefore creates the atmosphere where the listener is encouraged, but still prevented from becoming arrogant and self-important. 10. Raag Gauri Dakhani (ਗਉੜੀ ਦਖਣੀ) – Gauri Dakhani has a similar nature to Gauri; however, the South Indian style of this Raag, including the taal (rhythm) highlights the strict and disciplined aspect of Gauri. 11. Raag Gauri Chayti (ਗਉੜੀ ਚੇਤੀ) – Gauri Chayti generates a deliberate sensation of fear by creating a conscious reminder of what may occur if we loose the things we take for granted. It awakens feelings of panic and regret, by exposing the listener to the possible outcome of what might happen should this warning not be heeded. 12. Raag Gauri Bairagan (ਗਉੜੀ ਬੈਰਾਗਣਿ) – As the title suggests Gauri ‘Bairagan’ is a Raag of bairaag (sadness of separation). The listener is left with an intense feeling of sorrow and emptiness. However, the balance of Raag Gauri ensures that this sense of loss and sadness motivates the listener to try to discover exactly what is missing. Gauri Bairagan therefore evokes feelings of sadness, which become a lesson, as opposed to creating a sense of depression. 13. Raag Gauri Purbi Deepaki (ਗਉੜੀ ਪੂਰਬੀ ਦੀਪਕੀ) – The tone of this Raag is that of self-assessment with a positive attitude of improvement. It creates an atmosphere of constantly progressing with confidence and experience, as well as instilling a positive belief of enduring achievement. 14. Raag Gauri Majh (ਗਉੜੀ ਮਾਝ) – Gauri Majh is a well-planed emotional ‘act’, which reaches out to fulfil a yearning created by the Raag. This yearning is similar to that of Raag Majh’s regret, hope and anticipation, however in this instance it is created deliberately in order to sway the listener to react to the longing. 15. Raag Gauri Malva (ਗੌੜੀ ਮਾਲਵਾ) – Gauri Malva is based on Punjabi Folk music and is influenced by the ‘Malva’ region of Punjab and the Malvaee hospitality. The nature of this Raag can be compared to the thoughtful, very serious, yet caring advice given by a true friend. The Raag persuades the listener with such truth and friendliness, that it is impossible to disagree, even if the listener does not like the advice being given. 16. Raag Gauri Mala (ਗਉੜੀ ਮਾਲਾ) – The essence of Gauri Mala is a combination of good, pure, true and positive thoughts added together one by one. There is a feeling of having worked hard and an increased energy, which encourages more devotion towards the truth. 17. Raag Gauri Sorath (ਗਉੜੀ ਸੋਰਠਿ) – Gauri Sorath has a definite feeling of attraction and appeal, which woos the listener’s attention to the subject matter or target. However, the feelings of being enticed and lured are balanced with a sense of duty and realisation, of needing to obey the warning given. 18. Raag Aasaa Kafi (ਆਸਾ ਕਾਫੀ) – Aasaa Kafi has a carefree and self-assured nature. It is confident in its outlook and does not hold onto any false hopes. The feelings of boundless energy, along with the confidence gained by previous experiences, create an inspirational atmosphere for the listener. 19. Raag Asavari (ਆਸਾਵਰੀ) – Asavari has an atmosphere of real energy and enthusiasm, which encourages the listener to complete the necessary tasks. However, the mood of this Raag is genuine and there is therefore no pretence of showing off its hardworking nature. 20. Raag Aasaa Asavari (ਆਸਾ ਆਸਾਵਰੀ) – Aasaa Asavari provides a sense of assurance to achieve your desired goal with courage, love and confidence. It is a precise direction toward achieving a set outcome, with confidence and positivity fuelled with a burst of energy. The nature of this raag is to produce a strong sense of capability in the listener, converting energy into passion with the motivation to repeat this positivity. The strength of this raag churns out the best of a personality providing the individual with the necessary knowledge to bring thoughts into action. 21. Raag Devgandhari (ਦੇਵਗੰਧਾਰੀ) – Devgandhari conveys the feeling of satisfaction that comes from making an achievement. These emotions make the listener feel empowered to do more and diminish any feelings of laziness. This state of satisfaction is that of extreme happiness and contentment, and leaves the listener with the feeling of being in paradise. 22. Raag Bihagara (ਬਿਹਾਗੜਾ) – The mood of Bihagara is that of extreme sadness and pain, which gives rise to the need to find peace and understanding. The heightened emotional state of sadness is only harnessed by the craving for truth and meaning. 23. Raag Vadhans (ਵਡਹੰਸੁ) – Vadhans is based on Punjabi Folk music and is set in the traditions of ‘Ghoreea’, ‘Suhag’ and ‘Alohnian’. The feelings instilled by this Raag can be compared to those of a bride on the day of her wedding; she is happy and sad. Although she is going to her groom, who fills her with hope and joy, she is also sad to be leaving her family. 24. Raag Vadhans Dakhani (ਵਡਹੰਸੁ ਦਖਣੀ) – The mood of this Raag is very similar to Raag Vadhans, however due to its South Indian style of expression, it is more disciplined in its nature. 25. Raag Sorath (ਸੋਰਠਿ) – Sorath conveys the feeling of having such a strong belief in something that you want to keep repeating the experience. In fact this feeling of certainty is so strong that you become the belief and live that belief. The atmosphere of Sorath is so powerful, that eventually even the most unresponsive listener will be attracted. 26. Raag Jaitsiri (ਜੈਤਸਰੀ) – Jaitsiri conveys the heartfelt emotion of not being able to live without someone. Its mood is preoccupied with feelings of dependence and an overwhelming sense of desperately reaching out to be with that person. 27. Raag Todi (ਟੋਡੀ) – Todi consists of both wisdom and humbleness. It is through these sentiments that the Raag takes a simple approach to explain things that we may be aware of, but fail to ponder upon. The Raag draws the attention of the listener to contemplate these things and gives an explanation with such conviction, that we are compelled to agree. 28. Raag Bairari (ਬੈਰਾੜੀ) – Bairari stimulates the feeling of improving and continuing with a task, which has already been accomplished. It is an unmoving belief that what has been achieved is true and positive, which leads to a hunger and desire to progress to the next stage. Although there is immense confidence in the achievement, there is no conceit or vanity in the accomplishment. 29. Raag Tilang (ਤਿਲੰਗ) – Tilang is full of the feeling of having tried hard to impress, but the feeling that the effort made has not been appreciated. However, the atmosphere is not of anger or upset, but of brooding, as the person you are trying to impress is very dear to you. 30. Raag Tilang Kafi (ਤਿਲੰਗ ਕਾਫੀ) – As with Tilang, this Raag contains the feeling that your effort has been unappreciated, when trying to impress someone. However, in contrast to Raag Tilang, the individual is unperturbed by this feeling. This differentiating aspect arises from the deep love for the person concerned, which prevents the individual from becoming annoyed at the apparent lack of approval. 31. Raag Suhi (ਸੂਹੀ) – Suhi is an expression of such devotion that the listener experiences feelings of extreme closeness and undying love. The listener is bathed in that love and genuinely comes to know what it means to adore. 32. Raag Suhi Kafi (ਸੂਹੀ ਕਾਫੀ) – Suhi Kafi expresses feelings of deep love and security, like that of a child and a parent. A young child feels secure and safe, when surrounded in their parents love. The love felt is so strong that there are no worries and the individual gains a certain confidence from being so secure. 33. Raag Suhi Lalit (ਸੂਹੀ ਲਲਿਤ) – Suhi Lalit contains feelings of emotional resolve. However, there is also a volatile characteristic in that although there is love in these emotions, there is a willingness to step over the line to attain the goal. 34. Raag Bilaval (ਬਿਲਾਵਲ) – Bilaval conveys the emotions of great happiness that come from having attained a goal or achieved an aim. It is an overwhelming feeling of fulfilment, satisfaction and joy, that is experienced when the accomplishments is very important and dear to you. The happiness felt is like laughing out loud, there is no planning or any ulterior motive; it’s just a natural expression of heartfelt happiness arising from a sense of achievement. 35. Raag Bilaval Dakhani (ਬਿਲਾਵਲ ਦਖਣੀ) – This Raag is full of energy, which is shown by the fast rhythm and singing of the South Indian style of expression. The feelings of Bilaval Dakhani are of confidence and happiness, which arises from having achieved the unachievable. 36. Raag Gond (ਗੋਂਡ) – Gond is an expression of triumph, however these feelings are balanced and in perspective ensuring that there is also an aspect of humility. Therefore, although there is a sense of knowing and understanding the achievement, there is not a feeling of becoming obsessed or getting lost in the achievement itself. 37. Raag Bilaval Gond (ਬਿਲਾਵਲ ਗੋਂਡ) – Bilaval Gond consists of emotions of courage and conviction. The atmosphere created by the Raag is that of abstract happiness, however it is still disciplined enough to not be out of control. This Raag expresses its emotions poignantly, with insight and has a thoughtful strategy. It expresses feelings of confidence and happiness, but without any pride. 38. Raag Ramkali (ਰਾਮਕਲੀ) – The emotions in Ramkali are like those of a wise teacher disciplining their student. The student is aware of the pain of learning, but is still conscious of the fact that ultimately it is for the best. In this way Ramkali conveys the change from all that we are familiar with, to something we are certain will be better. 39. Raag Ramkali Dakhani (ਰਾਮਕਲੀ ਦਖਣੀ) – The emotions created by Ramkali Dakhani are those of change from old to new and there is a surety that this alteration is advantageous. These feelings are highlighted and emphasised by the South Indian rhythm and style of expression. 40. Raag Nat Narayan (ਨਟ ਨਾਰਾਇਨ) – Nat Narayan consists of feelings of hastiness and impatience, however simultaneously there is stability and control. Although there is control in the Raag, there is still the impression that it is unbalanced and prone to topple at any time. 41. Raag Nat (ਨਟ) – Nat creates the impression of being wild and uncontrollable and appears extreme in its feeling. It conveys the feeling of being out of control and on the edge, however it returns from the brink, by reestablishing control and stability, and hence creating a sense of relief. This Raag uses its expertise in this way to create feelings of suspense. 42. Raag Mali Gaura (ਮਾਲੀ ਗਉੜਾ) – Mali Gaura conveys the confidence of an expert, whose knowledge is self-evident in both their outlook and actions. This knowledge is learned through experience and therefore creates an air of ‘coolness’. However, this sense of ‘coolness’ is an aspect of true happiness because you have learned how to manage things with expertise and skill. 43. Raag Maru (ਮਾਰੂ) – Maru was traditionally sung on the battlefield in preparation for war. This Raag has an aggressive nature, which creates an inner strength and power to express and emphasise the truth, regardless of the consequences. Maru’s nature conveys the fearlessness and strength that ensures the truth is spoken, no matter what the cost. 44. Raag Maru Kafi (ਮਾਰੂ ਕਾਫੀ) – Although Maru Kafi is forceful and blunt in its nature, it still expresses its emotions in a sweet and attractive way. This Raag is uncompromising in its nature, yet it retains the ability and charm to win the listener over with its relaxed and self-assured approach. As the listener, it makes you feel willing to listen even though the sentiments are harsh and direct. 45. Raag Maru Dakhani (ਮਾਰੂ ਦਖਣੀ) – Maru Dakhani expresses feelings of truth and reality in an uncompromising and outspoken way, which is emphasised by the South Indian style of expression and taal. 46. Raag Tukhari (ਤੁਖਾਰੀ) – Tukhari conveys the soul’s strong ambition to highlight the greatness of The Creator to the mind. This goal is of paramount importance to the soul and it will therefore, not give up even if stubborn mind is unresponsive. This Raag illustrates the soul’s focus on its goal, by conveying its message to the mind directly and then adopting a softer approach. The feelings of this Raag are dominated by the soul’s burning desire to convince the mind to follow its plan of enlightenment and hence becoming one with Akaal (God). 47. Raag Kedara (ਕੇਦਾਰਾ) – Kedara expresses and makes the mind aware of the true character and nature of the soul. It conveys the emotions of honesty, integrity and truthfulness in a practical and caring way. This approach highlights the soul’s character and is memorable, so that the mind is made aware, without arousing cynicism. 48. Raag Bhairao (ਭੇਰੳ) – Bhairao embodies the soul’s faith and heartfelt devotion towards The Creator. It is a kind of fanaticism, where there is a feeling of not being aware or caring about anything else. The emotions conveyed are those of contentment and of being absorbed in a steadfast belief or faith. In this Raag, the soul is relaying the happiness that the mind could potentially experience if it joined in with this devotion 49. Raag Basant (ਬਸੰਤੁ) – Basant denotes the changing of the season and the newness of spring. This Raag encourages the mind to brush away its selfishness, just like spring-cleaning removes all the cobwebs and creates a fresh start. There are feelings of hope and expectation of a new beginning and the start of a new cycle. However, these emotions are not dependent on the physical change of the season, but are an encouragement of an internal effort to change. 50. Raag Basant Hindol (ਬਸੰਤੁ ਹਿੰਡੋਲ) – Basant Hindol conveys the freshness and happiness of a new start and expresses the type of contentment, which comes from working hard to make a change. This Raag is full of hope and creates a sense of being at ease and being satisfied because a new chapter is beginning. 51. Raag Sarang (ਸਾਰੰਗ) – Sarangs character is soothing and has the ability to extinguish the minds smouldering selfishness and negative nature. The emotions of Sarang quench the minds burning desires, by expressing and highlighting the soul’s pure and true thoughts. This is a positive and fulfilling change. 52. Raag Malhar (ਮਲਾਰ) – Malhar is a communication of feelings from the soul, to show the mind how to become cool and refreshed. The mind is always burning with the desire to reach its goals quickly and without effort, however the emotions conveyed in this Raag are able to bring composure and fulfilment to the mind. It is able to bring the mind into this calmness, bringing a sense of satisfaction and contentment. 53. Raag Kaanara (ਕਾਨੜਾ) – Kaanara invokes feelings of being overcome by a personality, which is so impressive that its character is difficult to stop thinking about. The personality conveyed has a magnetism, which makes you think of them as your own and is able to win you over with its remarkable qualities and outlook. 54. Raag Kalian (ਕਲਿਆਨ) – Kalian has a forceful, yet flexible nature. It conveys a desire for something and a resolve to attain it, by whatever means possible. Although determined in its desire, Kalian sometimes uses an accommodating approach and at other times has an aggressive approach, in order to reach its goal. This Raag has a determined, forceful, yet persuasive character, through which it fulfils its desire. 55. Raag Kalian Bhopali (ਕਲਿਆਨ ਭੋਪਾਲੀ) – Kalian Bhopali’s nature is direct and insistent. Just as in Kaliyaan, this Raag conveys the feeling of determination to fulfil its desires. However, in contrast it is not flexible in its approach, as the desired goal is tackled head-on and in a regimented fashion. There is no hesitation and it is only focused on its goal. 56. Raag Parbhati Bibhas (ਪ੍ਰਭਾਤੀ ਬਿਭਾਸ) – Parbhati Bibhas expresses the feelings of compromise between the mind and the soul; a common understanding between the selfishness of the mind and the devotion of the soul evolves. The atmosphere created is like the calmness and serenity of daybreak, along with a sense of preparation for the day to unfold. The ‘partaal’ rhythm represents the change in the method, which is induced by compromise, however it also highlights the balance of concentration. 57. Raag Parbhati (ਪ੍ਰਭਾਤੀ) – The emotions conveyed in Parbhati are those of extreme devotion; there is an intense confidence and love for the entity it is devoted to. This affection arises from knowledge, common sense and a detailed study. There is therefore an understanding and a considered will to devote itself to that entity. 58. Raag Parbhati Dakhani (ਪ੍ਰਭਾਤੀ ਦਖਣੀ) – The nature of Parbhati Dakhani is very similar to that of Parbhati, except that the feelings of devotion are more disciplined. This discipline arises from the South Indian style of expression of this Raag. 59. Raag Bibhas Parbhati (ਬਿਭਾਸ ਪ੍ਰਭਾਤੀ) – Bibhas Parbhati has a self-assured character and has a sense of certainty, which arises from the knowledge gained through awareness. It conveys the wisdom achieved from learning, which inspires contentment. However, this wisdom is not arrogant, but is gentle in its persuasion because there is not a need to ‘show-off’ this knowledge, but a desire to share it, so the recipient is able to learn. 60. Raag Jaijavanti (ਜੈਜਾਵੰਤੀ) – Jaijavanti expresses the feeling of happiness and satisfaction of achievement, however it simultaneously conveys the sadness of losing. An apt simile for this Raag is that of a king winning a battle, however he is then told that his son has perished on the battlefield. This Raag conveys a sense of having to put your duty first, no matter what your inner feelings may be. The duality of the emotions of joy and sorrow help to keep you stable and prevent you reveling in your own achievement.


Within the 1430 pages are found Saloks of Bhagat Kabir, Sheikh Farid, Guru Tegh Bahadur, etc.

The closing section

The Main section which consists of 31 chapters forming the the Raga section is followed by a brief closing section. This is composed of the Mundavani (The Closing Seal), a salok by Guru Arjan and the final composition of the SGGS, which is the Ragamala

Historical Volumes of the Siri Guru Granth Sahib

  • KARTARPUR VAALI BIR: As described above, Guru Arjun dictated the Adi Granth to Bhai Gur Das. This first volume, or Bir, was made in Amritsar and later transferred to Kartarpur, where it remains today. The opening lines are in the hand of Guru Arjun, and it bears the signature of Guru Hargobind at the end. There are several blank pages, left by Guru Arjun to hold the writings of Guru Teg Bahadur.Apart frommany handwritten copies of Sri Guru Granth Sahib possessed by various persons and found in some gurdwaras the most important is the Bir recension at Kartarpur ,near Jullundur in the custody of Sodhi Amarjit Singh , a descendant of Dhirmal
  • BHAI BANNO VAALI BIR: After completing the Adi Granth, Guru Arjun asked one of his Sikhs, Bhai Banno, to take the manuscript to Lahore to have it bound. During this journey, Bhai Banno had a copy made for his own use. He inserted a few Shabads of his own choosing, however. This version remains with his descendents.Hand written Manuscript of Bhai Banno wali Bir is said to be available at Gurdwara Banno Sahib in Kanpur city in India.
  • DAMDAMA VAALI BIR: This is the volume dictated by Guru Gobind Singh at Damdama Sahib to Mani Singh. In it, Guru Gobind Singh included the Shabads of Guru Teg Bahadur. The volumes of the Siri Guru Granth Sahib which preside over our Gurdwaras now are copies of this edition.

Using the Gurmukhi Bir and the English Translation

In the West, it has become common to use the English translation of the Siri Guru Granth Sahib in Gurdwara programs and Akhand Paaths, because many of the Western Sikhs are not fluent in Gurmukhi. This has served to bring many to the Feet of the Guru who otherwise may not have had the opportunity to experience the Shabad Guru. It should be noted, however, that it is ideal to install the full Gurmukhi Bir in the Gurdwara in order to fully experience and develop a relationship with the Guru. The English translation can be installed on a separate Palki on the side and serve to illuminate the sangat in the meaning of the Words of the Guru. The English translation may be used during an Akhand Paath in which the participants are not fluent in Gurmukhi. Howev er, if a special Gurdwara program is being planned, the English Akhand Paath days can be accomodated so that the full Gurmukhi Bir of Siri Guru Granth Sahib presides.

A Sikh is encouraged (but not a must) to learn to read Gurmukhi so as to deepen his or her experience of Gurbani and so that the full body of the Guru may be installed in the Gurdwara.

Note: English and other translations of the Sre Guru Granth Sahib Ji should be considered as just another "style" (language) of talking/deitating/praising the guru. Trying to force a person to learn punjabi/gurmukhi is highly undesirable.

Worldwide praise for the holy Granth

Main article: Worldwide praise for the Guru Granth Sahib

This is what Max Arthur Macauliffe wrote about the authenticity of the Guru's teaching

  • The Sikh religion differs as regards the authenticity of its dogmas from most other theological systems. Many of the great teachers the world has known, have not left a line of their own composition and we only know what they taught through tradition or second-hand information. If Pythagoras wrote of his tenets, his writings have not descended to us. We know the teachings of Socrates only through the writings of Plato and Xenophanes. Buddha has left no written memorial of his teaching. Kungfu-tze, known to Europeans as Confuscius, left no documents in which he detailed the principles of his moral and social system. The founder of Christianity did not reduce his doctrines to writing and for them we are obliged to trust to the gospels according to Matthew, Mark, Luke and John. The Arabian Prophet did not himself reduce to writing the chapters of the Quran. They were written or compiled by his adherents and followers. But the compositions of the Sikh Gurus are preserved and we know at first hand what they taught.
Sikh Scriptures
  • .... "Guru Granth Sahib enshrines the message of universal brotherhood and good of all mankind." said Dalai Lama,The Spiritual Leader Of Tibetian Buddhism .
  • ... "I am very much impressed about Sikhism and the bravery of it's followers.I have felt and rightly too that in the welfare of this religion lies the welfare of India." said Col.Phin Mubukant - Minister Of Religious Affairs in Thailand in 1963.

Miss Pearl S. Buck, a Nobel laureate, gives the following comment on receiving the First English translation of the Guru Granth Sahib (The Sikh Holy Book):

  • .... I have studied the scriptures of the great religions, but I do not find elsewhere the same power of appeal to the heart and mind as I find here in these volumes. They are compact in spite of their length, and are a revelation of the vast reach of the human heart, varying from the most noble concept of God, to the recognition and indeed the insistence upon the practical needs of the human body. There is something strangely modern about these scriptures and this puzzles me until I learned that they are in fact comparatively modern, compiled as late as the 16th century, when explorers were beginning to discover that the globe upon which we all live is a single entity divided only by arbitrary lines of our own making. Perhaps this sense of unity is the source of power I find in these volumes. They speak to a person of any religion or of none*. They speak for the human heart and the searching mind. ...

(From the foreword to the English translation of the Guru Granth Sahib by Gopal Singh M.A. Ph.D. 1960)(bold added later)

  • Dr Gopal Singh M.A Ph.D. (1960). Sri Guru Granth Sahib (English Version). World Book Centre. ISBN.

Guru Granth Sahib Gallery

Message of Guru Granth Sahib

The Guru Granth Sahib provides unique and unequalled guidance and advice to the whole of the human race. It is the torch that will lead humanity out of Kaljug, (the dark era) to a life in peace, tranquillity and spiritual enlightenment for all the nations of the World. The main message can be summaried as:


Care & Protocol to be Observed

Main article: SGGS Protocol

Personal Behaviour

Any person carrying out any Service or Sewa for SGGS MUST observe the following:

  • Head must be covered at all times.
  • Shoes must be removed outside the Guru's room.
  • observe basic standards of personal hygiene.
  • If you have to visit the toilet, have a shower and change your clothing before serving the Guru again.
  • When reading from the Guru, you must cover your mouth...
  • No eating or drinking while in service.
  • No small talk while in Guru's service.


While in the vicinity of SGGS, everyone should observe the following:

  • Head must be covered at all times.
  • Shoes must be removed, especially if indoors.
  • When Guru Granth Sahib passes past one must show reverence and respect for the Guru.


Environment

  • Guru Granth Sahib should always be placed in an independent, well-ventilated and separate room.
  • The floor, walls and ceilings should be cleaned or washed as appropriate and suitably decorated.
  • Maharaj has to be placed on a Manji Sahib. The dimension of the Manji Sahib must be at least 12 inches high, 36 inches wide and 18 inches deep.
  • A canopy, of suitably material should always be placed over the Guru just below the ceiling.
  • Guru's Attire: Clothing appropriate to the season is to be placed upon the throne of the Guru. In the summer, thin clothing and in winter, warm clothing i.e. a thick blanket/duvet must be used.
  • The Plain white sheet that is placed under the Manji Sahib is to be of better quality, and separate, to that of the Granthi Singh.
  • A Chaur Sahib should be provided besides the Guru with a small platform to house the Kar Parshad and other implements.


On The Move

Whilst the Guru is on the move the following should be observed:

  • Five Singhs (Minimum of three) are to accompany the Guru at all times when travelling
  • These Singhs are to remain bare-footed.
  • One Singh is to do Chaur Sahib Seva
  • One Singh is to go ahead of Satguru and sprinkle water or wet flower petals.
  • The Main Singh carrying the Guru must put a clean Rumalla on his Turban before carefully and with respect placing the Guru on this Rumalla. At all times, the Guru should be covered with a small Rumalla so that the Guru's Sarop is always fully "covered".
  • The other two Singh walk besides the Main Singh – one on his left and the other on his right.
  • In order to make the Sangat aware that the Guru is coming in their direction, gongs or other appropriate instruments are to be played or recitation of "Waheguru" at all times.
  • When travelling by car, etc, if possible carry the Guru on the head or the lap. In each case a clean Rumalla must be place below the Guru.

Other Considerations

  • Maharaj is never to be placed in a closet or cupboard.
  • No one should sit on a higher platform than the Guru.
  • At night, the Guru should be placed on a separate independent bed or small cot.


See Also

* Sri Guru Granth Sahib Vigyanik Visha Kosh - Dr. Jasbir Singh Sarna

External Links

Gurbani online

Main article: Gurbani online

Gurbani search

Main article: Search Gurbani

Dasam Granth


The following are sites where you can download files comprising the SGGS:

Download SGGS

Audio files

Khanda.jpg   Guru Granth Sahib   Khanda.jpg
Structure: Index of Guru Granth Sahib · SGGS Protocol · Raag · Sikh Ragas · Ragmala · Ghar · Shabad · Tuk · Hukam · Gurdwara · Search Bani · Pauri · Ashpaadi · Salok · Var · Rahao
Message: Introduction to Sikhism · SGGS on Arguing · SGGS on charity · SGGS on meat · Pilgrimage and fasting · Sikh Women · Primary Beliefs and Principles · Underlying Values · Prohibited Behaviour · Interfaith · Guidance for All · Dharma
Banis: Guru Granth Sahib · Sikh Scripture · Dasam Granth · Ek Onkar · Waheguru · Bani · Mool Mantar · Japji Sahib · Jaap Sahib · Chaupai · Anand Sahib · Tav-Prasad Savaiye · Rehras · Sukhmani · Dakhni Oankar ·Acrostic
Ragas: Asa · Bairari · Basant · Bhairon · Bihagara · Bilaval · Devagandhari · Dhanasari · Gauri · Gond · Gujari · Jaijavanti · Jaitsri · Kalian · Kanara · Kedara · Maajh · Malaar · Mali Gaura · Maru · Nat Narain · Prabhati · Ramkali · Sarang · Sri · Sorath · Suhi · Tilang · Todi · Tukhari · Vadahans
More: Gurbani Online · Worldwide Praise · Guru Granth Sahib Gallery · What is SGGS? · SGGG begins Uniquely · Trumpp's Translation · SGGS for children · Gutka · Guru Granth Sahib Numbering System
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