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  1. This was originally written by a member called 'Namstang' and is priceless. .....Going back to Naam now, there are many techniques how to do jaap of Shabad given to you by mahapursh in form of panj pyares, most of puratan samparda's give you shabad/Gurmantar in amrit sanchar but give you Naam jugti in a separate session alone - mahapursh and jagiaso. Also may i add it's not proper to say, i got naam amrit from others or mahapursh in form of panj pyares, panj pyares instill naam in you, you get shabad from panj pyares. Naam is inside us day we were in the womb. Naam is everywhere, exist in his creation: Gurbani says: Naunidh amrit prabh ka naam, dehi mein iskaa bisraam (GGS : 292, Sukhmani, 23.1). Anyway here are some of the techniques(jugti) given by mahapursh in the past, they are diffferent. Remember there is no such thing as one technique is better than others, people on this forum should get out from this "bamal bussa" and "dubta" black and white sikhs trying to propagate. Yes certain people find certain techniques comfortabale but they can't say one technique is superior than others. - Technique given used and given by mahapursh- sant 108 baba sunder singh ji bhindranwale (fetched from gyani thakur singh ji japji sahib katha translations tapes): Ajapa jap Jap is of three types: 1. Vachak- Recitten with tongue and can be heard by others. 2: Upas: Recitten with tongue also but less audible. 3. Manas- Meditation of Vahiguroo with mind..meditation through thought process. First stage of gursikh is Vachak. Gyani Ji gave example of how siriman 108 sant baba sunder singh ji maharaj bhindranwaley used to do japji sahib first in one hour, then do second japji sahib in half an hour, then do third japji sahib in 15 minuites, then do fourth japji sahib in 10 minutes, then fifth time do japji sahib in 5 minutes. - Techniques given by sant baba isher singh ji rara sahib waley (sub branch of bhai dya singh samparda) Jap(meditation) is also done by: 1. Baikri Bani- When one recites naam with javan(tongue), hout(lips), khaieyal(thoughts) that is called Baikari Bani. 2. Madhma Bani- When one recites naam in Kant(throat) without moving lips...just with the thoughts is called Madhma Bani. 3. Pasanti Bani- When one recites naam in hirda(heart). 4. Para Bani- When one recites naam in Nabhi(Navel) without moving tongue and with the thoughts. In this stage vahiguroo naam gets infused in rom rom of the body. Meditation goes in automatic mode. There is no need for concentration. Gurmukh Rom Rom Har Dhavaie || After 4th stage, one gets to very high stage. Where one can hear(jap-resonance,dhuni) with their surati in pretty much everything in this creation ie- walls, birds, leafs, animals, human being, even from realms (bhramands). Dharat Patal Akash Hai Meri Jindaeriye Sab Har Har Naam Dhavaiya Ram || 2nd technique: Va Va Da Abhyaas Nabhi Ch Karo (Doing Simran of Va Va on Nabhi/Navel ) Hi Hi Di Awaaz Hiradaie Ch (Doing Simran of hi hi on the heart) Gu Gu Kant ch Karo (Doing Simran Gu on the kant/near throat) And Ru Ru Di Awaaz Mastaak mai Ratan Kartaie Hoye Birti Kou Nirgun Atma Mein Lin Kar Duo (Doing Simran Ru Ru on the Mastaak/third eye) So its a cycle - Va ( on Nabhi) Hi(on heart) Gu (on Kant) Ru(On Mastak/third eye). Thats one cycle....I dont know...this cycle or stage explained in the book is the first intial stage to the simran or second last stage in simran.... 3rd technique: This is also included in Soraj Parkash Granth. According to a prasang(divan) on chapter of mata ajeeto kaur reaching enlightment. Mata ajeto kaur was under guidance of siri guroo gobind singh where she was taught all the "YOG SADHNA/Shabad Surat Marg where chakras are used", when mata ji did yog sadhna, when her birthi(dhyaan) reached - Trikurti/3rd eye..she started seeing the future e.g. the besiegement of Sri Anandpur Sahib, leaving the kila etc and the shaheedia of the char sahibjadey. After seeing this in a dream she asked Guru Gobind Singh jee whether this was true, Guru Sahib confirmed this. Mata jee then told guru jee that she could not see all this pain happen and would rather die/ leave for Sachkand and asked permission to leave her body. Guru Sahib jee granted her permission and subsequently she did ishnaan, a Sukhmani Sahib da Paath and then left her body by reciting the mantar and with that mantar taking her prana on top and realising it via bhram randar nari( subtle vein) through dasam dwara. 4th technique: First concentrate on Sargun saroop of Vahiguroo while reciting shabad ie- Gur Ki Morat Man mein dhyaan Guru Ka shabad mantar man maan then after mind becomes subtle, that shabad will automatically take you upper realms and that shabad will infuse in your surat Techniques used and given by sant jawala singh ji harkhowaley (sub branch of bhai dya singh samparda) Naam Simran Jagutiya by Sant Baba Jawala Singh Harkhowaley 1st technique First do simran with the help of bakhri bani(recitation of tongue) and focus on trikurti ( between the eye brows) focus so hard and meditate so hard that you are exhausted consequently you will start meditating automatically on throat chakra with Madhma Bani (thought provoked automatic recitation) then focus so hard on madhma bani that it gets exhausted. Again consequently meditation will start in the heart and continue to the Nabhi (Navel). In the navel, guru’s jap awakens the kundalani in the navel. By doing this.,tenth door(dasva dwara) opens. By doing this technique your meditation process never stops and you are experience doesn’t break. 2nd technique. Meditation using Vahiguroo Mantra... Meditate with repeating Vahiguroo with your breath. When you inhale, take Vahi with your breath and take it all the way to Nabhi crossing your heart. Then take Gu from your heart to Ru from your trikurt by doing this... Tenth door (dasama dwara) opens.. Next stages (When trikurti opens) you see some light, first you see red then you see white and then you see the light that is so strong that makes thousands of suns and moons look dim but it doesn’t hurt your eyes ..It’s a feeling of calmness and rain of Amrit(Nectar). That is followed with sweet(celestial ) sounds which are called Panj Shabad (Anhad Shabad)…focus on that shabad but you have to transcend the point that yogi gets to because that point is still bound by creations and its only when your ego dissolves that you achieved what you meant to be achieving.. Naad means sound (dhuni) and there are two types of sound Aahat and Anhat 1. Aahat caused by two things colliding .This breaks down into thee parts 1. Breath = vocal sound 2. Sound which comes from instruments 3. Combinations of both and that’s where it collides. 2. Anhat: Heaven celestial sounds. 3rd technique: Sant Jagjit Singh Herkhowal here is narrating the instructions given to his father on how to perform Naam Abhyaas by Baba Jwaalaa Singh Herkhowal. Another technique by harkhowaley mahapursh They are; Preparations: 1) First recite Japuji Sahib 2) Then perform ardas requesting permission to recite naam and to be devoid of distractions 3) A mat should be laid on the floor, covered by a woolen cloth and then a white sheet 4) A pitcher of water is put to one side 5) The surroundings are adorned with incense and flowers 6) Sit facing the rising sun (east) in sidhaasana 7) Each hand should be placed on the knees in vairaag mudra 8) Keep spine erect, head high 9) To initially control the senses close left eye and with the right focus on the tip of your nose 10) Then recite mool mantar until you have strong concentration 11) Then recite gurmantar - first with baikri bani, then so only you can hear, then in the throat, then heart then navel chakra at belly button 12) This stage will take time but will be achieved with practice 13) once there, fix attention at triputi (between eyebrows) 14) He then explains trikuti and then way to dasam duar 15) The recitation of gurmantar should proceed with 'vaa' in stomach chakra, 'hi' in heart, 'guu' in throat and 'ruu' in triputi. 16) Four types of rasna - baikari (aloud), madama (in throat), pachyanti (voice in hriday/heart), and para bani (nabi). 17) Ru meaning light brings light to triputi (which is above the trikuti) 18) Therefore placing each of the gurmantar in each of the chkras in ascending order 19) explanation is then given of the nature of the experience that arises out of this practice, the final opening of saharakamal chakra and the experience of advaita. 20) There is further guidance on seasonal changes that need to be made, and issues of daily practice. 4th technique by harkhowaley mahapursh: Baba jawala singh ji answered: Hey pyaray gurmukho, the shabad, which is the emanation and form of guruji’s heart, that shabad is brahm. Get absorbed in that shabad and you will find that you no longer exist and that is the way that you will get muktee. Guruji has used the following lines in gurbani to explain this…… 1)sabad gur peera, gaher gambeera, bin shabadai jag baugaanang. 2)Satgur bachan, bachan hai satgur paadhur mukat janavago 3)Etc etc (more bani was said to reinforce the point) It is for this reason that gurmat is focusing on god through shabad ( gurmat hai shabad brahm dee upaashna) because shabad has 3 forms according to wise mahapurakhs: 1)asthool: when your eyes gaze on a granth and you read those letters out loud 2)misrat: when one’s birti (focus/attention) becomes attuned to the shabad, the shabad is both suksham and asthool because the mind is made of the (tatta da sato ansh)….the sat (virtue/true/purest) form of the qualities. 3)Sukham= sookham (astral/spiritual) When the shabad abhyaas (meditation on the shabad) surpasses the consciousness(surat) of the mind, and gets absorbed in the paar baani (the celestial emanations of the primal sound)..(this is also called, naabhi di baani (sounds of the naval chakra). That baani has the ability to take the jeev’s surti (the consciousness of the being) to the pinnacle point of brahm (the point from which creation was started). For this reason, you should all focus on the shabad. 5th technique: Viraat Upsana Recite vahiguroo through your mind and at the same time visualize first start with people/places you dislike - see light in them then move on bringin the whole creation (parkirti) inside and try to feel as if every inch of this universe is reciting vahiguroo's name - leafs, waterfall, valley, tree's , wind.. as if you are seeing light's everything. this way our mind which is dualistic see two (see god separate from creation) changes into non-dualistic mode which is see oneness (god's light in every being). Techniques by sant baba aya singh ji hoti mardan (sub branch of bhai dya singh samparda). Sant aiya singh ji was murshid of sant jawala singh ji. Note this technique is given to sangat where there is not only sikhsangat but everyone- hindu and muslim: refererence: The Radiance of complete journey to Akaal Purkh chapter- Sant baba Aiya Singh Hoti Mardan giving sermons to Sangat. Diffferent ways of Meditation. 1. Meditating by focusing eyesight on rising sun. It's done in winter. Hindus call it trianghlar concentration. 2. Shugal Mayyat or Mansuri..some hindus call it dead body's posture it is done by lying on ground on back with mind upwards, body completely loose and eye sight focused on behind the brows. 3. Breathing control in which attention is focused on third mole. It's equal to the first one and is done via padam asan(cross legged position) 4. Attention is focused inside as well as outside on the fae of Guru(mentor). In this way, one enjoys the unique fruits of spiritual life and hidden secrets are uncovered. 5. Shugal Ishnan Jat- In this, attention is focued on kalava shanovari due to this practice the mediator gets absorbed into his own self. 6. Shugal Aina (Means of Mirror)- It involves eye sight focussing on eye pupil in the reflection. This way eye-pupils over turn inwardly and get's to white spot or third mole. 7. Half awakened position- By this eyes are constantly kept open to avoid sleep. Therefore even though in sleep one remains half awake. 8. Inner form and intellect are concentrated upon white spot. 9. Eye- sight is focussed on the nose-tip then gradually moves backward to the nose-root. Going inward one has to enter realm of subtility. Yogis call it Chacri Mudra. It is also mentioned in Gita. Meditation phase contains three types: 1. Meditation upon Guru's phsyical form. 2. By concentrating on the place of the spirit in the body one feels light like a lamp. This is subtle medtiation. 3. The comes Guru's light form above the path of God's and ancestors and stays with the Sikh(learner). This way seeker merges into God. Shamas Tarbez says, "I become you and you become me and my life so that no one distinguish between you and me". Perfect meditation disolves the trinity of worship, worshipper and object of worship. Worshipper and the object of worship become one. God or Guru's beautiful face only can be seen with sacred eyes, look at him with excitement and asthetic sense just as muslims look up the moon of Id, It's is not every eye's business to have a glance of True Guru's light form. Only fortunate ones attain to this status. But human being instead of listening to spiritual voice is given to hear outer souns. Alas ! you are bounded by phsyical chains and do not listen to holy voice of mercyful god. Love: Love is the divine Law. It will win where reason fails God is love and love is God I think this is enough for the sangata, there are soo many techniques in guru ghar, no technique is higher than other or more gurmatiya than others, what is highest of all and common within all is "prem" towards Vahiguroo which leads to "Gurparsad". IkOngkar Satnaam Kartapurkh Nirbhau Nirvair Akaal Morat Ajooni Saihbhang Gurparsad
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  2. Stick to learning about Sidh Gosht
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  3. Some Technical Terms Used in 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). 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 Baanee of the SGGS is arranged and indexed according to the prescribed Raagas, singing forms, music signs/ headings and the other guidelines noted in the Baanee. 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 Baanee 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 (Kirtan 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 Kirtan 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. 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 : 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. 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 compositions of 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 Baanee of the Gurus (Guru Nanak Dev, Guru Angad Dev, Guru Amar Das, Guru Ram 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, Ramanand, 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 Baanee 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
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  4. It's how the parents raise children now, if the parents do not have belief in Sikhi what are the children going to do? Obviously they would get led astray.
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