# Mahala And Ghar In Gurbani



## onspjo (Jan 20, 2011)

WJKK WJKF!
 What does Ghar mean in gurbani. I know Mahala (number) represents one of the gurus. First Mahal is Guru Nanak Devji, Second Mahal is Guru Angad Devji. 
What does Ghar mean? Thanks.


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## spnadmin (Jan 20, 2011)

"Ghar" is a musical term that further guides the raagi how to perform the shabad. I have uploaded a chart. There are differences among experts in the exact usage of the term. 
http://www.gurbani.org/articles/webart231.htm
*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_ (_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 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 _:

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 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

Some Technical Terms Used In The Gurbani


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## Gyani Jarnail Singh (Jan 20, 2011)

and GHAR also means..HIS HOUSE...WITHIN US...THE Ultimate Place to BE !! NIJH GHAR..HIS VERY OWN HOUSE !! We are all Single women..and our ultimate place is OUR IN LAWS place when we get married to HIM...this is the imagery most portrayed in Gurbani..BRIDE and BrideGROOM !! IN Indian Society the ultimate place of honour for a woman is her In laws..sauhra ghar.


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## spnadmin (Jan 20, 2011)

This is somewhat trivial after Gyani ji's reply. So I hope just to be building on it.

 There are occasions when, for an example, a hukamnama is taken. The invocation "Ik Oaankar Satgur Prasaad"  is recited, and then the name of the raag and mahala and *ghar *is given. This can be translated as (again an example) "Raag xxxx, Mahala 4, * speaking in the House (ghar) of Guru Nanak*....though the shabad was actually authored by Guru Arjan Dev. That is the way I was first introduced to the meaning of "ghar" as House, just as Gyani just said. The musical significance I learned only later.


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## onspjo (Jan 21, 2011)

Thanks Spnadmin ji for detailed description of meanings of different ghar. They do look complicated and probably require much more understanding of ragas/taals. I studied music during school for 6 years but do not remember a thing. There is so much that can be studied and implemented to feel the complete joy of bani recitation. 
 Hopefully, with God's grace, I'll study the ragas and taals again. 
Thanks again for sharing this.

J KAUR


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