# Asa Ki Vaar - Transcending Duality



## spnadmin (Apr 5, 2009)

ਮਨਿ ਅੰਧੈ ਜਨਮੁ ਗਵਾਇਆ ॥੩॥
  man andhhai janam gavaaeiaa ||3||
  The blind man has wasted his life away. ||3||


Scholars and students at the Sikh Research Institute as part of the Saneha series have begun to make Asa Ki Vaar a focal point of gurmat education using best practices of pedagogy to do it. Located in San Antonio Texas, SikhRI has sponsored several seminars on Asa Ki Vaar. Read and proffer your understanding of Asa ki Vaar...When you find similar resources please share them...Stay close to the shabad when you wish to share your understanding.
 

Asa ki Var:
A SikhRI Seminar
by MANJYOT KAUR


SANEHA  - "Asa ki Var: Transcending Duality" - A Sikh Research Institute Seminar 

 Recently, I participated in a SANEHA ("message") seminar presented by the Sikh Research Institute (SikhRI) on the Bani of Asa ki Var (literally, The Ode of Hope).

Established in 2003 and located in San Antonio (Texas, U.S.A.), SikhRI is a nonprofit, faith-based initiative whose mission is to "facilitate training and development while inspiring Sikh values, create global awareness of Sikhi, and deliver solutions to the key challenges faced by the Sikh community."

This program, led by Harinder Singh, Simranjit Singh and Gunisha Kaur, was held at the Bridgewater Gurdwara in Basking Ridge, New Jersey. Coordinated by Mandhir Singh, Principal of the Bridgewater Khalsa School, it attracted over 75 participants.

It was divided into five sessions.

The first session centered around the structure and significance of Asa ki Var.

While Nitnem is usually an individual pursuit, Asa ki Var - which forms part of the morning liturgy of the Sikhs - was termed "a collective engagement to develop collective clarity."

Found on pages 462-475 of Guru Granth Sahib, Asa ki Var is one of the scripture's 22 Varaan (odes). Sung in the early morning period before sunrise, it is in Raag Asa, a musical measure that is intended to evoke an intense mood of hope or desire.

It consists of 24 Pauris (which can be envisaged as "rungs of a ladder," on which an idea is unfolded, step-by-step) composed by Guru Nanak. Every pauri has one or more Saloks, which are "couplets" (but not necessarily limited to two lines) meant to express praise or describe various phenomena.

There are 59 saloks in all, 44 of which were composed by Guru Nanak, and 15 by Guru Angad (the Second Guru).

According to the musical instructions recorded by Guru Arjan at the beginning of the Var, the saloks are meant to be recited in the tune of a ballad which had as its hero a prince by the name of Asraja, called "Tunda Asraj" - named thus because of a maimed hand ("tunda").

Asa ki Var also includes six Chhants, comprising four stanzas each (colloquially known as 24 Chhakas or quatrains), authored by Guru Ram Das (the Fourth Guru), each of which is sung before a set of saloks.

This bani's central emphasis can be considered to be the theme of freedom from duality and slavery of the mind, which is attained by "imbibing the glory of Truth."

Portraying human life as a Divine gift, it discusses the transformational role of the Guru, by which an average person can attain "angel-like" behavior. Through it, we are led to explore our Divine potential, which can allow us to operate on "a higher paradigm that goes beyond duality."

Duality, in this context, is seen as a divergence between ideal and practice, with two elements at tension with one another - for example, true and false, sacred and profane.

The second, third and fourth sessions of the seminar dealt with some of the ways in which Asa ki Var leads us to transcend various manifestations of duality.

At the start of each of these three sessions, a handout was distributed with the text (in the original Gurmukhi script, with Roman transliteration and selected vocabulary in English) of a particular pauri and its accompanying saloks (all of the ones chosen were by Guru Nanak).

After reading the text aloud, it was intensively dissected and discussed line-by-line, with further translation being provided by the facilitator, as needed. In one of these sessions, the participants were split up into separate groups, depending on the language - Punjabi or English - in which they felt most comfortable.

The second session focused on "Transcending Duality in Thought." Its text was taken from page 468 of Guru Granth Sahib, beginning with the salok that starts: "Koorrh raja koorrh parja koorrh sabh sansaar." ("False is the king; false are the subjects; false is the whole world.")

The realization was brought forth that we often have "a relationship with things, but not with the Giver of these things." If we do not connect with the Divine, anything and everything can be reduced to utter falsehood. Recognizing Truth is a process that will gradually take place as we invite Divine Love and its ensuing freedom into our lives.

As we ourselves are a part of Divine Light ("Man toon jyot saroop hai"), directions for living a Truth-centered life are to be sought within from Waheguru, not from external sources. But, for this to become possible, an active personal relationship with the Guru is essential. If our thought processes remain mired in duality, like a "split seed," we cannot grow and develop the necessary sense of harmony with the Divine.

However, once we take a "pilgrimage within ourselves," discovering our intrinsic connection with Divine Truth, our thought processes can become clarified and we can attain an understanding of what constitutes virtuous living.

The text of the third session, revolving around "Transcending Duality in Conduct," was taken from page 465 of Guru Granth Sahib. It began with the salok that starts: "Musalmana siphati sariati pari pari karahi bichar." ("The Muslims praise the Islamic law; they read and reflect upon it.")

We discussed that, in this portion, which speaks of the dichotomy between belief and practice, the Guru is giving examples of the duality inherent in what people say and what they actually do. We may hypocritically praise the philosophy (which is in the form of the Divine), but continue to slavishly follow overly-stringent laws and blind rituals. Like Yogis, we may attempt to totally empty ourselves, but we cannot get rid of what is truly impure within us.

Without the Guru, nothing can be achieved and union with the Divine is impossible. But, when we meet the Guru and focus our consciousness on the Truth, we will be "liberated by the One who removes attachments," and thus "obtain the life of the Universe."

Session Four, which dealt with "Duality in Society," used a text from page 471 of Guru Granth Sahib, beginning with the salok that starts: "Gau birahman kau karu lavahu gobari taranu na jai." ("They tax the cows and the brahmins, but the cow-dung they apply to their kitchen will not save them.")

While dissecting this section, we pondered many of the ills that beset society throughout the ages (and continue to do so today), such as official corruption, hypocrisy, exploitation and unfair double standards.

Unethical religious leaders conspire with ruthless "power brokers" to control the lives of the common people. Cruelty and tyranny prevail everywhere; falsehood is practiced on an immense scale. But Waheguru can never be deceived - the Divine Will always prevails.

Like the brahmins demarcating their cooking squares with cow dung, we futilely seek to find purity within a artificially prescribed "space." But, when we abandon duality, purity will be found within ourselves, according to the new ways in which we think and behave.

The fifth and final session was a "Question & Answer" Forum. Although it began with subjects relating to Asa ki Var, it soon became quite free-ranging. Whatever the topics raised by the participants, the facilitators consistently presented Gurmat perspectives in thought-provoking and non-judgmental ways that were relevantly connected to contemporary life in the diaspora, while fully respecting the attendees' differing levels of personal observance and depth of Sikhi-related knowledge.

At the conclusion of the seminar, Mandhir Singh spoke briefly about the Bridgewater Gurdwara and Khalsa School, and its many exciting programs and activities.

Having previously attended a SikhRI "Mark of Excellence" workshop ("The Guru: Connecting With the Divine Light") in October, 2008 and taken part in two of the organization's webinars held this spring, I came to this seminar with extremely high expectations.

To a very great degree, they were not only met, but also exceeded.

This seminar, like these previous SikhRI events, was characterized by the wonderfully warm and inclusive feeling of sangat. (This lovely sensation was certainly reinforced by the bountiful langar and tea-time snacks, as well as the much-appreciated child-care services provided by gurdwara volunteers.)

Represented among the attendees were Keshadhari and non-Keshadhari Sikhs of a wide array of ages, high-schooler to retiree.

It could not have been more evident that the three facilitators were deeply steeped in knowledge of Sikhi and Gurmat principles. They consistently encouraged all to actively participate and freely express their views. The spirit of open inquiry and life-long learning - such integral parts of our faith - definitely seemed quite alive and well, and the immense love we all share for our Guru was certainly in ample evidence.

Overall, each of the sessions unfolded in a very cogent and well-organized manner. However, apart from the segment that was deliberately split into separate English- and Punjabi-speaking groups, there were occasions when the desire of some of the participants to communicate exclusively in Punjabi, and the decision of the facilitator to reply in similar fashion, seemed to cause the comprehension level of some of the attendees not fluent in that language (myself firmly among them) to be momentarily lessened.

This occurred repeatedly during the Q&A period. It might have been preferable if the leaders had gone a bit further in these situations (such as quickly translating the questions and responses into English) to ensure that all participants, even the minority who did not possess Punjabi language skills, understood the proceedings as fully as possible.

This seminar might have been of even more benefit if a greater degree of "wrapping-up" after the third "Transcending Duality" session had taken place.

Devoting a little extra time to clearly summarizing and drawing comprehensive conclusions from the numerous lines of thought that arose during the discussion of Asa ki Var's structure and significance as well as the three Gurbani text explication segments would have been extremely worthwhile.

Perhaps this could have taken place either at the beginning or end of the Q&A period, even if it would have resulted in cutting down the opportunity for general, non-Asa ki Var-related discussion slightly.

With the minor exception of the above (which, admittedly, might not have been perceived as shortcomings by many of the participants), this seminar was definitely a very stimulating and valuable experience, as well as a tremendously motivational springboard to further reading, study and discussion of this Bani.

Highly recommended!

Source at this link sikhchic.com | The Art and Culture of the Diaspora | Article Detail

March 17, 2009

Pics to follow
Sat Nam


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## spnadmin (Apr 5, 2009)

*Asa Ki Vaar downloads at SPN can be found at this link *http://www.sikhism.us/local_links.php?catid=20*


Asa Ki Vaar downloads (downloads as mp3 files) from Gurmat Sangeet Project *

Uth              Farida Ujoo Saaj

Asa              Ki Var 1 & Bhinni Rainariye Chamkan Taare 

Asa                                          Asa              Ki Var 2 

http://www.gurmatsangeetproject.com/Recordings/RaiSingh/Bhai Rai Singh - Pratpal Prabh Kirpal.mp3Asa              Ki Var 3 

http://www.gurmatsangeetproject.com/Recordings/RaiSingh/Bhai Rai Singh - Ohaa prem piri.mp3Asa              Ki Var 4 

http://www.gurmatsangeetproject.com/Recordings/RaiSingh/Bhai Rai Singh - So dar kaise chodiye.mp3Asa              Ki Var 5 

Asa              Ki Var 6

Source at this link: Gurmat Sangeet Project
Rai Singh is the Kirtani (a real treat)



*Link to Asa ki Vaar beginning on Ang 462 of Sri Guru Granth Sahib Maharaj
Sri Granth: Sri Guru Granth Sahib

*Asa ki Vaar begins on Ang 462 and ends on Ang 475.  ੴ  ਸਤਿਨਾਮੁ  ਕਰਤਾ  ਪੁਰਖੁ  ਨਿਰਭਉ  ਨਿਰਵੈਰੁ  ਅਕਾਲ  ਮੂਰਤਿ  ਅਜੂਨੀ  ਸੈਭੰ  ਗੁਰ  ਪ੍ਰਸਾਦਿ  ॥ 
 ੴ सतिनामु करता पुरखु निरभउ निरवैरु अकाल मूरति अजूनी सैभं गुर प्रसादि ॥
 Ik▫oaŉkār saṯnām karṯā purakẖ nirbẖa▫o nirvair akāl mūraṯ ajūnī saibẖaŉ gur parsāḏ. 
 One Universal Creator God. Truth Is The Name. Creative Being Personified. No Fear. No Hatred. Image Of The Undying. Beyond Birth. Self-Existent. By Guru's Grace: 

 ਆਸਾ  ਮਹਲਾ  ੧  ॥ 
 आसा महला १ ॥
 Āsā mėhlā 1. 
 Aasaa, First Mehl: 

 ਵਾਰ  ਸਲੋਕਾ  ਨਾਲਿ  ਸਲੋਕ  ਭੀ  ਮਹਲੇ  ਪਹਿਲੇ  ਕੇ  ਲਿਖੇ  ਟੁੰਡੇ  ਅਸ  ਰਾਜੈ  ਕੀ  ਧੁਨੀ  ॥ 
 वार सलोका नालि सलोक भी महले पहिले के लिखे टुंडे अस राजै की धुनी ॥
 vār salokā nāl salok bẖī mahle pahile ke likẖe tunde as rājai kī ḏẖunī. 
 Vaar With Shaloks, And Shaloks Written By The First Mehl. To Be Sung To The Tune Of 'Tunda-Asraajaa':


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## spnadmin (Apr 5, 2009)

Background reading

Charles Shackle, author of The Sacred Language of the Sikhs (hard to find text on Gurmukhi and the grammar of the Sri Guru Granth Sahib) has also written Teachings of the Sikh Gurus. Chapter 3, Asa ki Var, is part of this online Google Book and can be accessed at this link:

Teachings of the Sikh gurus ... - Google Book Search

The chapter contains Shackles own English translation. However, it focuses mainly on the poetic form and structure of Asa di Var. 

Chapter 3 is followed by Chapter 4, Mind Self and Ego.


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## spnadmin (Apr 5, 2009)

On YouTube RajKaregaKhalsa has produced an online slide presentation with voice over to aid correct pronunciation.

YouTube - Asa Di Vaar - Sikh Prayer


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## lalihayer (Apr 5, 2009)

ਬਲਿਹਾਰੀ  ਗੁਰ  ਆਪਣੇ  ਦਿਉਹਾੜੀ  ਸਦ  ਵਾਰ  ॥
A hundred times a day, I am a sacrifice to my Guru;

ਜਿਨਿ ਮਾਣਸ ਤੇ ਦੇਵਤੇ ਕੀਏ ਕਰਤ ਨ ਲਾਗੀ ਵਾਰ ॥੧॥
He made angels out of men, without delay. ||1||


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## spnadmin (Apr 5, 2009)

lalihayer said:


> ਬਲਿਹਾਰੀ  ਗੁਰ  ਆਪਣੇ  ਦਿਉਹਾੜੀ  ਸਦ  ਵਾਰ  ॥
> A hundred times a day, I am a sacrifice to my Guru;
> 
> ਜਿਨਿ ਮਾਣਸ ਤੇ ਦੇਵਤੇ ਕੀਏ ਕਰਤ ਨ ਲਾਗੀ ਵਾਰ ॥੧॥
> He made angels out of men, without delay. ||1||



lallihayer ji

Is this why Asa ki Vaar is the Song of Hope?


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## Gyani Jarnail Singh (Apr 5, 2009)

AAD JIO..
GURFATEH.

The Word..ASA is name of the Raag.....not    "HOPE" !! SGGS has 31 Raags in total.
easy enough mistake to make..especially  by a non-Punjabi. Many Punjabis also make this mistake...

But by now you would have recognised that  ALL GURBANI is all about HOPE...and not Nirasha..despair !!
Gurbani never lets you down..never throws you into the pit of despair....

Cheers...:happy:


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## Gyani Jarnail Singh (Apr 5, 2009)

finally someone comes up with a project i have preached about all my life... Vaar Asa Ki...( Asa dee vaar )

One of the most "read"..but actually NEGLECTED Banis of the SGGS. The Asa Vaar is the Second Masterpiece of Guru nanak ji....His Life time NICHORR - experiences...and philosophy.
No doubt this Vaar is read as compulsory in all gurdwars at day break...but no effort was ever made at its Katha..explaining it to the sangat....All the Major EXPOSURES of "religious thuggery" are there..all the pakhand..the trickery...the fraudulent practises of religious contractors....exposed..all rituals condemned..IF we all started to learn from this Vaar...our daily lives woudl improve so fast..as is said..
Jinn Manas te devteh Keeyeh.lagat na lagee vaar...it can transform humans into gods/angels in an instant....alas we sikhs RUSH through it in the Gurdwaras ....and never waited to ponder its deep meanings...NOW this PROJECT..I LOVE IT.:happy:I am sure I will ENJOY IT.


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## spnadmin (Apr 5, 2009)

Gyani ji

Well we are sorely missing the kathas. I spent two hours searching the net. And there are great downloads by Gyani Thakur Singh ji and Gyani Muskeen Singh ji -- dozens -- none in English-- all in Punjabi. Without exaggeration -- nothing in English. So SPN is now waiting for you and your mentors to fill in the gaps.

 Antonia



Gyani Jarnail Singh said:


> finally someone comes up with a project i have preached about all my life... Vaar Asa Ki...( Asa dee vaar )
> 
> One of the most "read"..but actually NEGLECTED Banis of the SGGS. The Asa Vaar is the Second Masterpiece of Guru nanak ji....His Life time NICHORR - experiences...and philosophy.
> No doubt this Vaar is read as compulsory in all gurdwars at day break...but no effort was ever made at its Katha..explaining it to the sangat....All the Major EXPOSURES of "religious thuggery" are there..all the pakhand..the trickery...the fraudulent practises of religious contractors....exposed..all rituals condemned..IF we all started to learn from this Vaar...our daily lives woudl improve so fast..as is said..
> Jinn Manas te devteh Keeyeh.lagat na lagee vaar...it can transform humans into gods/angels in an instant....alas we sikhs RUSH through it in the Gurdwaras ....and never waited to ponder its deep meanings...NOW this PROJECT..I LOVE IT.:happy:I am sure I will ENJOY IT.


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## spnadmin (Apr 5, 2009)

Gyani Jarnail Singh said:


> AAD JIO..
> GURFATEH.
> 
> The Word..ASA is name of the Raag.....not    "HOPE" !! SGGS has 31 Raags in total.
> ...



I know that Asa is the raag -- not sure what the mistake was that I made. It has been called the "Ode" of hope as well.


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## Gyani Jarnail Singh (Apr 6, 2009)

aad ji,
the "mistake" is translating the ASA (Proper NOUN _name of Raag ASA ) into "HOPE....." There is a Punjabi word called AAS..hope..also called Aaasan ( plural) hopes... but that has got nothing to do with the Name of the Raag Asa.
The Ode of Hope is thus totally wrong....where does the "HOPE" come from ??..From the wrong translation.
The SGGS has 22 Vaars..in the various RAAGS..each is named after the specific Raag and has no other "meaning"...Vaar Maajh..is Vaar in the Raag majh...Basant Ki Vaar is Vaar in Raag Basant...and NOT "Ode to SPRING" !!..although basant is also spring in Punjabi...Gujri Ki Vaar..two Ramkali ki Vaars Raag ramkaliBihagrreh ki vaar ..raag bihagrra..sorath ki Vaar..raag sorath..

Cheers..


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## spnadmin (Apr 6, 2009)

Gyani ji

When you said Asa Besant is not Ode to Spring I was ROFL :rofl!!: and nothing could have been a better explanation. Thank you.


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## spnadmin (May 19, 2009)

*Asa Ki Var Bhai Nirmal Singh*

Google live videos may not load immediately. If this happens nudge the slider on the video player a little bit with your cursor. It will start.


Asa Ki Vaar - Bhai Nirmal Singh Nagpuri 12April09


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## Gyani Jarnail Singh (May 20, 2009)

*Re: Chandi Di Var with translation (YouTube video)*

The VAARS...and there are 22 of them...are at the END of various Raags....Vaar ASA KI is the most famous....its sung every morning at almost ALL Gurdwaras....its DHUNNI..is TUNDEH ASRAJEH KI DHUNNI.
Its beleived that Guru Hargobind Ji POPULARISED the Vaars to be Sung according to the POPULAR DHUNNIS of the time....there is a  Tundeh Asrajjeh Ki Vaar in FOLKLORE....so Guru Ji ADAPTED that Dhunni for Asa Ki Vaar...

***** *GURU HARGOBIND JI, GURU HAR RAI jI, GURU Harkishan Ji DID NOT WRITE ANY GURBANI.*

There is Vaar Majh ki..at end of Raag majh..Basant Ki Vaar...etc..read the full details below...

*Vaar & Dhuni:* There are 22 Vaaras included in the SGGS, 9 of them come with distinctive assigned traditional folk musical tunes (Dhuni) of their own as noted below. Thus, they have a simple rhythm or a pattern of a folk Taal(beat) with a wider simple and emotional appeal. Vaars are not assigned with any particular "Ghar" notation. They are accompanied by "Slokas" and "Paurees", and the essence of the Vaar lies in the "Pauree". They are generally intended to produce martial feelings. 


 Maanjh Kee Vaar Mahala 1 — Malak Mureed Tathaa Chandharaa Soheeaa kee Dhuni (sggs 137).
 Gauree Kee Vaar Mahala 4 — Raai Kamaaldee Mojdee Kee Dhuni (sggs 318).
 Aasaa Dee Vaar Mahala 1 — Tunde Asraaje Kee Dhuni (sggs 462).
 Gujree Kee Vaar Mahala 3 — Sikandar Biraahim Kee Kee Dhuni (sggs 508).
 Wadhans Kee Vaar Mahala 5 — Lalaan Bahreemaa Kee Dhuni (sggs 585).
 Raamkalee Kee Vaar Mahala 3 — Jodhe Veere Poorvaanee Kee Dhuni (sggs 947).
 Saarang Kee Vaar Mahala 5 — Raai Mahame Hasane Kee Dhuni (sggs 1237).
 Malaar Kee Vaar Mahala 1 — Raanai Kailaas Tathaa Maalde Kee Dhuni (sggs 1278).
 Kaanare Kee Vaar Mahala 5 — Moose Kee Dhuni (sggs 1312).
 Vaars are to be sung in appropriate Raaga and Dhuni indicated in the SGGS. For example, Maanjh Kee Vaar is to be sung in Raaga Maanjh accompanied by the Taala of "Malak Mureed Tathaa Chandharaa Soheeaa kee Dhuni". 



*Unfortunately the art of traditional Dhunis mentioned in the SGGS appears to be dying out, and needs to be preserved by training youngsters 
*

A Vaar is a narrative poem, usually set to music; thus, it often is a story told in a song. Any story form may be told as a ballad, such as historical accounts or fairy tales in verse form. It usually has foreshortened, alternating four stress lines ("ballad meter") and simple repeating rhymes, often with a refrain. 
If it is based on a political or religious theme, a ballad may be a hymn. It should not be confused with the ballade, a 14th and 15th century French verse form. The ballade is a verse form typically consisting of three eight-line stanzas, each with a consistent metre and a particular rhyme scheme. The last line in the stanza is a refrain, and the stanzas are followed by a four-line concluding stanza (an envoi) usually addressed to a prince. 


AND  a FURTHER informative article form T.Sher Singh Ji..of Gurbani Org


*SOME TECHNICAL TERMS USED IN THE  GURBANI*

Through the letters, comes the Naam; through the  letters, You are Praised.
Through the letters, comes spiritual wisdom, singing  the Songs of Your Glory.
Through the letters, come the written and spoken words  and hymns ...(sggs 4).
<><><><> 
 The Sikh Gurus  wrote _Shabads_ in poetical-metric forms. They were then associated with  various _Raagas_ and _Ghars_ and many other terms such as _Partaal,  Sudhang, Rahaaou, Pauree, Vaar, Ikpadaa, Dupadaa, Tipadaa, Chaarpade, Ashatpadee_,  _Chhand, Ghorian _and _Alahunian_ of folk music, types of _Kirtan_  music, _Gaathaa, __Funhe, Chaubole_, _Savayyas, Karhale_, _Solahe_,  _Mahalaa_, _Pattee_, and so on. This Gurbani Reflection will attempt  to have a brief discussion of these. 
_RAAGAS_:  
_Raaga_  — combination of a set pattern of notes — is a condition of melody, which literally  means to color or to please. Sri Guru Granth Sahib (SGGS) is arranged in chapters  that bear names of musical _Raagas_, according to the nature of the composition,  the musical clef (_Ghar_), etc. Each of the _Raagas _is unique. From  a music standpoint, specifically the _Bani_ of the SGGS is arranged and  indexed according to the prescribed _Raagas_, singing forms, music signs/  headings and the other guidelines noted in the _Bani_. Popularly known  as _Gurmat Sangeet_, such system of _Gur-Shabd Kirtan_ instituted by  the Sikh Gurus (initially established by Baabaa Nanak) is a unique musical tradition  indeed, which creates original and specific musicology. The Gurus made the _Kirtan_  an inseparable part of the Sikh way of life. The mixture of both the _Shabad_  and the _Raagas_ compliment each other in that the _Raaga_ conveys a  feeling and the _Shabad_ a message. Thus combined together both produce very  potent effect and impact on the human mind and heart, invoking spiritual sentiment,  concentration, discipline, longing and love for God, etc. Thus the aim of the  _Kirtan_ is to experience the inner joy (Bliss) and _Sahaj_ (one's natural  state of Being). Therefore, the _Kirtan_ is mentioned in the SGGS to be "the  support of life", "remedy against evil", "source of virtues",  "invaluable gem", "ocean of bliss", "divine nectar",  "bestower of salvation", and so on. Sri Guru Arjan Dev Jee (who first  compiled and installed the _Aadi Granth_ at the Harmandir Sahib, was very  fond of the _Kirtan_ and the music) initiated the system of music sessions  (_Chowkies_) at the Harmandir Sahib. 
The entire _Bani_ of the SGGS  has been classified under 31 main _Raagas_. They are as follows: _Sri,  Maanjh, Gauree, Aasaa, Gujree, Devghandhaaree, Bihaagraa, Wadhans, Sorath, Dhanaasree,  Jaitsree, Todee, Bairaaree, Tilang, Suhee, Bilaawal, Gaund, Raamkalee, Nat Naaraayan,  Maalee Gauraa, Maaroo, Tukhaaree, Kedaaraa, Bhairav, Basant, Saarang, Malhaar,  Kaanraa, Kalyaan, Parbhaatee,_ and _Jaijawantee_.  
Besides these 31  main _Raagas_, there are also variants of _Raagas_ such as _Gauree  Guaareree, Gauree Dakhanee, Gauree Chetee, Gauree Deepkee, Gauree Poobee, Gauree  Maanjh, Gauree Poobee Deeplee, Gauree Sulakhanee, Gauree Maalvaas, Gauree Maalaa,  Gauree Bairaagan, Gauree Sorath, Wadhans Dakhanee, Tilang Kaafee, Suhee Kaafee,  Suhee Lalit, Bilaaval Dakhanee, Bilaaval Gaund, Bilaaval Mangal, Raamkalee Dakhanee,  Maroo Kafee, Maaroo Dakhanee, Basant Hindol, Kalyaan Bhoopaalee, Praabhaatee Dakhanee_,  and _Praabhaatee Bibhaas_.
Each _Raaga_ offers a unique relationship  to human moods and feelings. Another interesting aspect of _Raagas_ is that  there is a seasonal allocation as well as daily twenty-four hour time cycle allocation.  For example, there are some morning _Raagas_, some evening _Raagas_,  some afternoon _Raagas_, some night _Raagas_, and so on . Also, there  are _Raagas_ that are associated with seasons. For example, _Malhaar_  and _Megha Raagas_, are sung in the rainy season, in the spring the _Basant  Raaga_, etc. The reason is that human mind and heart undergo varying degrees  of mood changes during a twenty-four hour time cycle as well as different seasons,  therefore, certain _Raagas_ are particularly suitable for certain time of  the day and night as well as season. Dividing daily twenty-four hour timing cycle  in eight _Pahars_ and each _Pahar_ in approximately three hour-period,  the _Raagas_ of each _Pahar_ are as follows:


6 AM - 9AM: _Bilaaval,  Devgandhaaree_
9 AM - 12 PM: _Saarang, Suhee, Bilaaval, Gujree, Goaud,  Todee_
12 PM - 3 PM: _Wadhans, Maaroo, Dhanaasaree_
3  PM - 6 PM: _Maanjh, Gauree, Tilang, Tukharee_
6 PM - 9 PM: _Sri  Raaga, Basant, Maalee Gauraa, Jaitsree, Kedaaraa, Kalyaan_
9 PM - 12  AM: _Bihaagra, Nat Naraayan, Sorath, Malhaar, Kaanraa, Jaijawantee_
12  AM - 3 AM: No _Raaga_ specified in the SGGS. The reason could be that this  is the time to sleep!
3AM - 6AM: _Aasaa, Raamkalee, Bhairav, Parbhaatee_
*Unfortunately,  Kirtan today has been commercialized to such an extent that most Raagees  (KirtanKirtan ourselves as envisioned  by the fifth Guru, Sri Guru Arjan Dev Jee. Instead we hire the so called professionals  to sing it for us. The results are in front of us. singers) are only focused and concerned with making quick money.  This is commercialization and exploit of the faith. We all are to be blamed for  this condition. Because, we do not perform *


Before Sri Guru Arjan  Dev Jee started amateur class of _Kirtan_ singers to perform _Kirtan_,  professional singers (like nowadays) called "_Rabbaabees_" used  to perform _Kirtan_ for the _Sangat _(congregation) and the Guru. To  cut the long story short, once these "_Rabbaabees_" went on strike,  and thus denied to sing. It was that time Sri Guru Arjan Dev Jee started training  the amateur class of _Raagees_ to perform _Kirtan_. The sixth Guru (Sri  Guru Hargobind Jee) started a new class of _Raagees_ called "_Dhaadee_",  who sang heroic deeds of old warriors. They thus inspired the Guru's soldiers.  The name "_Dhaadee_" came from "_Dhad_", which is  a relatively small handheld percussion drum.
_GHAR_:  
It is a musical sign, used at the top of the _Shabad_ in the SGGS. It  gives a hint to _Raagees_ as to what musical clef (beat) to sing the _Shabad_  in. In other words, "_Ghar_" binds music and poetry in their metrical-form.  There are up to seventeen "_Ghar_" mentioned in the SGGS. Musicologists  have different interpretations of this term. But the consensus seems to be that  it denotes the parts of a _Taal_ (beat). Following is a list of seventeen  _Taals_ used in Indian Music with their respective "_Ghar_".  A close observation of the following list indicates that the majority of the modern  _Raagees_ generally seem to sing only in the first three or four.


_GHAR_  1 — _Daadraa Taal_ (There is 1 _Taalee_* and the Beat has 6 _Maatraas_**
_GHAR_  2 — _Roopak Taal_ (There are 2 _Taalees_ and the Beat has 7 _Maatraas_)
_GHAR_ 3 — _Teen Taal_ (There 3 _Taalees_ and the Beat  has 16 _Maatraas_)
_GHAR_ 4 — _Chaar Taal_ (There are  4 _Taalees_ and the Beat has 12 _Maatraas_)
_GHAR_ 5 —  _Panj Taal_ _Swaaree_ (There are 5 _Taalees_ and the Beat has 15  _Maatraas_)
_GHAR_ 6 — _Khatt Taal_ (There are 6 _Taalees_  and the Beat has 18 _Maatraas_)
_GHAR_ 7 — _Matt (Ashat)  Taal _ (There are 7 _Taalees_ and the Beat has 21 _Maatraas_)
_GHAR_  8 — _Asht Mangal Taal _(There are 8 _Taalees_ and the Beat has 22 _Maatraas_)
_GHAR_ 9 — _Mohinee Taal _(There are 9 _Taalees_ and the  Beat has 23 _Maatraas_)
_GHAR_ 10 — _Braham Taal_ (There  are 10 _ Taalees_ and the Beat has 28 _Maatraas_)
_GHAR_  11 — _Rudra Taal_ (There are 11 _Taalees_ and the Beat has 32 _Maatraas_)
_GHAR_ 12 — _Vishnu Taal_ (There are 12_ Taalees_ and  the Beat has 36 _Maatraas_)
_GHAR_ 13 — _Muchkund Taal_  (There are 13 _Taalees_ and the Beat has 34 _Maatraas_)
_GHAR_  14 — _Mahashanee Taal_ (There are 14 _Taalees_ and the Beat has 42 _Maatraas_)
_GHAR_ 15 — _Mishr Baran Taal_ (There are 15 _Taalees _and  the Beat has 47 _Maatraas_)
_GHAR_ 16 — _Kul Taal_ (There  are 16 _Taalees_ and the Beat has 42 _Maatraas_)
_GHAR_  17 — _Characharee Taal _(There are 17 _Taalees_ and the Beat has 40  _Maatraas_)
* _Taalee_ is the pattern of clapping. _Taals_  are typified by a particular pattern and number of claps.
**_ Maatraa_  is the beat, which may be subdivided if required.

There are many other  _Taals_ that may or may not have the same number of _Taalees_ and/or  _Maatraas_. For example _Punajabi Taal,_ _Chhotee Teen Taa_l, 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 _Taal_s of a just a few _Maatraas_  to many _Maatraas_.
Not only music, _Taal_ also pervades every  movement of the entire Creation. Days, nights, weeks, months, years, seasons,  movement of the planets in orbits, constant spinning of electrons around the center  of the atom (called the nucleus where the protons and neutrons are located) etc.  are a few reminders.
_VAAR_ AND _DHUNI _:  
 T*here are 22 Vaaras included in the SGGS, 9 of them come with distinctive  assigned traditional folk musical tunes (Dhuni) of their own as noted below.Thus, they have a simple rhythm or a pattern of a folk Taal (beat)  with a wider simple and emotional appeal. Vaars are not assigned with any  particular "Ghar" notation. They are accompanied by "Slokas"  and "Paurees", and the essence of the Vaar lies in the  "Pauree". They are generally intended to produce martial feelings.*


_Maanjh  Kee Vaar Mahalaa_ 1 — _Malak Mureed Tathaa Chandharaa Soheeaa kee Dhuni_  (sggs 137).
_Gauree Kee Vaar Mahalaa_ 4 — _Raai Kamaaldee Mojdee  Kee Dhuni_ (sggs 318).
_Aasaa Dee Vaar Mahalaa_ 1 — _Tunde Asraaje  Kee Dhuni_ (sggs 462).
_Gujree Kee Vaar Mahalaa_ 3 — _Sikandar  Biraahim Kee Kee Dhuni_ (sggs 508).
_Wadhans Kee Vaar Mahalaa_  5 — _Lalaan Bahreemaa Kee Dhuni_ (sggs 585).
_Raamkalee Kee Vaar  Mahalaa_ 3 — _Jodhe Veere Poorvaanee Kee Dhuni_ (sggs 947).
_Saarang  Kee Vaar Mahalaa_ 5 _— Raai Mahame Hasane Kee Dhuni_ (sggs 1237).
_Malaar  Kee Vaar Mahalaa_ 1 — _Raanai Kailaas Tathaa Maalde Kee Dhuni_ (sggs 1278).
_Kaanare  Kee Vaar Mahalaa_ 5 — _Moose Kee Dhuni_ (sggs 1312).
_Vaars_  are to be sung in appropriate _Raaga_ and _Dhuni _ indicated in the  SGGS. For example, _Maanjh Kee Vaar_ is to be sung in _Raaga Maanjh_  accompanied by the _Taala_ of "_Malak Mureed Tathaa Chandharaa Soheeaa  kee Dhuni_". Unfortunately the art of traditional _Dhuni_s 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 _Shabad_s in _Partaal  _set to different "_Ghar_".
_SUDHANG_: 
This  is also a musical sign for the _Ragees_. This term appears once in the SGGS  (page 369, _Aasaa Raaga_). Essentially it conveys direction to _Raagees_  to sing the _Shabad_ in its pure form. For example, when the _Shabad_  is in _Aasaa Raaga_, then it must be sung in that _Raaga_ (and _Ghar_).
_RAHAOU_:  
The word "_Rahaou_" marks "pause", and denotes main  theme line. In other words, the verse of "_Rahaou_" contains the  basis, essence or central thought of the _Shabad_. Whilst, the remaining  lines of the _Shabad_ are considered an exposition of the verse of "_Rahaou_".  That's why _Raagees_ use it as "_Asthaaee_" (first or the  main part of the music composition) and thereby sing it repeatedly. In some _Shabads_,  there are more than one "_Rahaou_", such as _Rahaaou_ 1, _Rahaaou_  2, _Rahaaou_ 3, _Rahaaou_ 4, etc.(for example, see Pages 26-26, 154,  96-97, 899 of the SGGS). This indicates introduction of a new thought. There is  no "_Rahaou_" in the "_Slokas_". In regard to the  _Vaars_ of Bhai Gurdaas Jee, the last line of the "_Pauree_"  is considered to contain the main thought.
_ IKPADAA, DUPADAA, TIPADAA,  CHAARPADE, CHHAND, __ CH HAKAA, ASHATPADEE_, _SAVAYYAS_:
As  the name implies, "_Ikpadaa_" denotes the _Shabads_ of one  verse. When "_Ikpadaa_" _shabads_ have two verses, they are  sung as one verse. "_Dupadaa_" are the _Shabads_ that contain,  besides the _Rahaou_ lines, two stanzas. "_Tipadaa_" are the  _Shabads_ of three stanzas. Similarly, the "_Chaupade_" are  the _Shabads_ of four verses, "_Chhands_" are the _Shabads_  of six lines, and "_Ashatpadee_" are the _Shabads_ of eight  verses. _"Chhhakaa"_ is of six _Padaas_. Someplaces both "_Chaupade  Dupade_" appear together (for example, see SGGS page 185). It means that  particular _Shabad_ contains "_Chaupade_" following "_Dupade_".  The "_Savayyas_" are the compositionsof praise.
_SALOKA_:
  A form of verse or stanza, generally a two-liner form allowing a variety of metrical  arrangement.
_PAUREE_:
"_Paurees_" are a  form of stanzas. They also contain the essence of the _Vaars_. Literally  meaning ladder or rung, it is a form of stanza adopted for _Vaars_. They  generally consist of 6 to 8 lines each. Stanzas of Baabaa Nanak's _Japuji_  are also traditionally called _Paurees_. Traditionally, _Raagees_ are  supposed to conclude Kirtan with singing of a "_Pauree_" from _Raagas_ _Bilaaval_, _Kaanraa_ etc. 
_GAATHAA, FUNHE, AND CHAUBOLE_:
_Funhe_  is a form of the _Chhand_ (for example, see SGGS page 1361). _Chaubole_  is also a form of the _Chhand_ (for example, see SGGS page 1363 where it  has 11 verses). _Gaathaa _denotes composition in an ancient language (mixture  of _Sanskrit_, _Paalee_ and other languages). Many Buddhist scriptures  are written in this language (for example, see page 1360 of SGGS). 
_SOLAHE_:
"_Solahe_"  is the _Shabad_ containing generally sixteen stanzas (for example, see SGGS  page 1021). They are only found in _Raaga Maaroo_. There is no "_Rahaaou_"  in them. Also, they follow "_Ashatpadees_".
_MAHALAA_: 
Initially  called _Adi Granth_, the contents of the SGGS (1,430 pages) contains _Bani_  of the Gurus (Guru Nanak Dev, Guru Angad Dev, Guru Amar Das, Guru Raam Das, Guru  Arjan Dev, Guru Tegh Bahadur, and one Sloka of Guru Gobind Singh Jee), and _Hindu  _saints (_Brahmans_ and _Soodras_) and Muslim Sufis. These 15 saints  were Kabeer, Nam Dev, Ravidas, Sheikh Farid, Trilochan, Dhanna, Beni, Bhikan,  Sur Daas, Parmanand, Pipa, Raamanand, Sadhana and Sain. It also contains the hymns  of eleven _Bhattas_ and Bards, they were Mathuraa, Jalap, Harbans, Talya,  Salya, Bhal, Kulh Sahar, Nal, Kirat, Sadrang and Gayand. In addition, it also  consists of the hymns of Mardaanaa (the minstrel of Baabaa Nanak), _Raamkalee  Sad_ by Sunder , and _Vaar_ of Sattaa and Balwand.  
The word "_Mahalaa_"  at the top of the _Shabad_ identifies which Guru is the author. For example,  "_Mahalaa 1_" identifies the first Guru, "_Mahalaa 2_"  identifies the second Guru, "_Mahalaa 3_" identifies the third  Guru, "_Mahalaa 4 _" identifies the fourth Guru, "_Mahalaa  5_" identifies the fifth Guru, "_Mahalaa 9_" identifies  the ninth Guru. This notation appears with the _Bani_ of the first five  Gurus and the ninth Guru only.  
_PATTEE_:
Literally "_Pattee_"  means a writing board, slate or notebook (_Fattee_). When it appears at the  top of the _Shabad_, it's also used to impart the Divine Teachings in the  order of _Varanmaalaa_ (alphabet), for example see page 432 of the SGGS.
— T. Singh
Sikhism - Reflections On Gurbani


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## Astroboy (May 20, 2009)

Can someone please update me as to what is "Asraje ki dhunni".

Is it a type of raag or type of singing style. A specimen of the style will be helpful.


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## spnadmin (May 20, 2009)

NamJap ji

Please see Post 14 which I copied from a different thread. The details of the vaars, and the dhunni sstructure, is explained in depth by Gyyani ji.


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## Astroboy (May 20, 2009)

> A specimen of the style will be helpful.


Is there an audio/video which sings on TUNDEH ASRAJEH KI DHUNNI


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## spnadmin (May 20, 2009)

*Bhai Amrik Singh Zakhmi *


_Asa-di-War                - Part 1_
_Har              Ko Naam Sada Sukh_ 

_Asa-di-War              - Part 2_ _

Kahay              Ray Ban Khojan_ _

Asa-di-War              - part 3_ _

Ram              Simar Ram Simar_ _

Asa-di-War              - part 4_ _Jakay 

             Sum Nahi Koay_ 

_Asa-di-War              - part 5_ _

Beet              Jahai Beet Jahai_ _

Asa-di-War              - Part 6_ _

Har              Ju Rakh Layo_ _

Asa-di-War              - Part 7_


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## spnadmin (May 20, 2009)

NamJap ji

Is there an audio/video which sings on TUNDEH ASRAJEH KI DHUNNI         (asked NamJap ji)


Spent about an hour searching Gurmat Sangeet, YouTube web sites. No Luck!   I recommend that you write to Warren Senders at the New England Conservatory of Music. A musicologist would be able to tell you quickly. Also Bhai Surinder Singh at the Raj Academy of Asian Musci would be another knowledgeable person.


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## Gyani Jarnail Singh (May 21, 2009)

www.sabdvartara.org has a selection of asa dee vaar in dhadee tradition sung to asraja ki dhun.
try there.


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## Harpreet_Singh_ (May 21, 2009)

Gyani Jarnail Singh said:


> All the Major EXPOSURES of "religious thuggery" are there..all the pakhand..the trickery...the fraudulent practises of religious contractors....exposed..all rituals condemned..IF we all started to learn from this Vaar...our daily lives woudl improve so fast..as is said..
> Jinn Manas te devteh Keeyeh.lagat na lagee vaar...it can transform humans into gods/angels in an instant.....


So true, Gianiji. Everytime I start getting proud of my spiritual level, I read Asa Ki Vaar, and its a wake up call about the hypocrisy that I've built up. 

Maybe this bani is able to transform us humans into angels so quickly because it is so blunt. As it says in the last pauree of Japji Sahib - "ahiran mat, ved hathiaar" - "Let your mind be the anvil, and Knowledge the hammer". Asa Ki Vaar is a heavy hammer.


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## Gyani Jarnail Singh (May 21, 2009)

Definitely Hardeep Singh ji..you have hit the nail on its head !!
Asa Ki Vaar is a Lifetime Nichorr or essence of the experiences of Guru nanak ji Sahib...after He had traveled the globe and looked at what was reality....and its as blunt as blunt can be.
Thats why it "hurts" many..in places they never thought existed...Guur Ji saw through every subterfuge, every trick, every ritual and pakhand....and EXPOSED it all.
In Todays context..everything said in Asa Ki Vaar is APPLICABLE to our Gyanis, Ragis, Pandits, Jathedars, leaders etc etc....and whatever we do in our Gurdwaras in the name of Gurmatt/Sikhi is miles away from what Guur Ji taught us...we feel ashamed..thats why we skim through asa ki vaar as fast as possible....and get on with our buisness as ususal...REFORMS will come when we begin to REALLY LISTEN..vichaar and FOLLOW asa ki vaar....


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## spnadmin (May 22, 2009)

** Asa Di Var - Bibi Amarjit Kaur*
*
Don't forget to watch and listen to Bibi Amarjit Kaur on Saturday, LIVE, May 23, 2009.*

Live Kirtan Broadcast of Sunday Gurdwara in Espanola New Mexico

Saturday, May 23rd - 7AM - 9:30AM (approx) Mountain Standard Time - USA (GMT -7:00). 



     Akandh Path Bhog
* Asa Di Var - Bibi Amarjit Kaur*
Chardi Kala Jatha - 1 hour of Kirtan


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## spnadmin (May 23, 2009)

Amarjit Kaur is singing now. Members of Chardi Kala Jatha are with her. But unfortunately camera coverage of the jathat is not available only sound and camera on a small part of the gurdwara. Which is sad because we are going to miss her sooner rather than later.


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## spnadmin (May 23, 2009)

If you did not listen, then you missed something big. Bib is close to 80 now. As she sang through the more than an hour her voice became more and more impassioned deep and inspired. it was truly wonderful.


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## Astroboy (Jun 15, 2009)

*Shabad sung in            Raga*​ *
*​ Asa              Ki Var 1               Asa 
Asa              Ki Var 2              Bhairav
Asa              Ki Var 3    Ahir Bhairav 
Asa              Ki Var 4             Pahadi 
Asa              Ki Var 5             Asavari 
Asa              Ki Var 6              Asa


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## Hardip Singh (Jun 15, 2009)

aad0002 said:


> Gyani ji
> 
> Well we are sorely missing the kathas. I spent two hours searching the net. And there are great downloads by Gyani Thakur Singh ji and Gyani Muskeen Singh ji -- dozens -- none in English-- all in Punjabi. Without exaggeration -- nothing in English. So SPN is now waiting for you and your mentors to fill in the gaps.
> 
> Antonia


 
Dear Antonia jeo,
Sorry for the English version. I had tried too but without success.
However, I have a recording of complete Vyakhya of Asa De Vaar (About 13 hrs. long) but in Punjabi by Sikh Missioneries from Ludhiana college. if you permit , I can load it for all's benefit.
If permitted, than pl advice me where and how to load in SPN.
Regards and Guru Fateh.


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## spnadmin (Apr 28, 2019)

Hardip Singh said:


> Dear Antonia jeo,
> Sorry for the English version. I had tried too but without success.
> However, I have a recording of complete Vyakhya of Asa De Vaar (About 13 hrs. long) but in Punjabi by Sikh Missioneries from Ludhiana college. if you permit , I can load it for all's benefit.
> If permitted, than pl advice me where and how to load in SPN.
> Regards and Guru Fateh.




Hardip ji

There is a section for mp3 downloads -- but Aman ji is the one who has uploaded the files. The vyakhya of Asa De Vaar all 13 hours would definitely fit in that section. It would be this section of the forum:
Links and Downloads Manager - Sikh Philosophy Network 

My recommendation is to contact Aman Singh by private message and let him tell you how to get the files easily to him. Then he will be able to list them with the others.

Thank you
Antonia


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