Bani Bhagat Beni Ji

Sabad 1:
Rag Sirirag
Of the thirty-one principal rags in the Guru Granth Sahib, Sirirag or Srirag, a musical mode, is designated first place in the sequence. The Bani of five Gurus and four Bhagats is recorded from pages 14 to 93 of the Guru Granth Sahib. This includes sixty Sabads by Guru Nanak Sahib, two by Guru Angad Sahib, seventy-two by Guru Amardas Sahib, thirty-five by Guru Ramdas Sahib, forty-two by Guru Arjan Sahib, two by Bhagat Kabir Ji, and one each by Bhagat Trilochan Ji, Bhagat Beni Ji, and Bhagat Ravidas Ji.

Sirirag is an old, melodious, and complex rag. Guru Amardas Sahib states that Sirirag is the most prominent among all the rags. However, the singing of this rag is only considered successful when the being develops a love for the eternal IkOankar:
rāgā vici srīrāgu hai je saci dhare piāru. -Guru Granth Sahib 83.

Bhai Gurdas also considers this rag as the supreme rag:
panchīan mai hans mrig rājan mai sārdūl rāgan me sirīrāgu pāras pakhān hai. -Bhai Gurdas, Kabit 376/3.

Apart from the Gurmat tradition, various schools of thought that follow the rag-ragini tradition also consider Sirirag significant. From a popular mythological perspective, Pandit Oankar Nath Thakur writes, “This is the sixth rag and is named ‘Siri’ as it is believed to have originated from the ‘great’ (Sri) mouth of Parvati; the other five rags having originated from the five mouths of Shankar (Shiva).” It is difficult to validate what is true in this mythological perspective, but it can surely be said that it is an old rag.

At the time of the compilation of the Guru Granth Sahib, the Guru gave the first place to Sirirag, which originated from the octave of shudh (natural) notes of music. Professor Tara Singh is of the view that Guru Arjan Sahib, in arranging the sequence of rags in the Guru Granth Sahib, did not overlook the classical tradition of Hindustani music, which is why Sirirag is placed in the first position.

In the Medieval Period, komal (flat) Ga and Ni were used in the octaves of natural notes, which is similar to today’s Kaphi that. Earlier, Sirirag was also sung on the notes of Kaphi that. Even today, the same form of the rag from Kaphi that in the North Indian style is prevalent in the Southern music system, which they called ‘Kharhar Pria.’

Proponents of the modern that system have classified Sirirag under Purvi that. From a musical perspective, Re, Dha are komal, Ma is tivar (sharp), and other notes are shudh. In its aroh (ascending scale), there is a practice of forbidding the notes Ga and Dha. In its avroh (descending scale), seven notes are used in the vakar rit (arc style). Consequently, its jati (class) is aurav-vakar sampuran. Its vadi (prominent note) is Re, and samvadi (sub-prominent note) is Pa. Some scholars consider its vadi to be Re and samvadi to be Dha.

Bhai Vir Singh considers Sirirag to be a pure and refined rag in Gurmat Sangit (Sikh Devotional Music). Bhai Avtar Singh, Bhai Gurcharn Singh, Sant Sarwan Singh Gandharv, and Dr. Gurnam Singh describe two different forms of Sirirag, namely Purvi that and Kaphi that. On the other hand, S. Gian Singh Abbottabad, Prof. Tara Singh, Rag Nirnayak Committee, etc., confirm the Purvi that form, which is given below:

Description of Sirirag
That: Purvi.
Svar (notes): Re, Dha are (komal - flat), Ma (tivar - sharp), rest all notes are shudh (natural).   
Varjit Svar (forbidden notes): Ga and Dha in aroh (ascending scale).
Jati (class): aurav-sampuran.
Vadi (prominent note): Re.
Samvadi (sub-prominent note): Pa.
Aroh (ascending scale): Sa Re (komal - flat), Ma (tivar - sharp) Pa, Ni Sa (tar saptak - upper octave).
Avroh (descending scale): Sa (tar saptak - upper octave) Ni Dha (komal - flat) Pa, Ma (tivar - sharp), Ga, Re (komal - flat), Sa.
Mukh Ang/Pakar (main part): Sa, Re (komal - flat), Re (komal - flat), Pa, Pa Ma (tivar - sharp) Ga Re (komal - flat), Re (komal - flat) Sa.

Singing Time
The fourth quarter of the day (dusk).

Sabad 2:
Rag Ramkali
Of the thirty-one principal rags in the Guru Granth Sahib, Rag Ramkali, a musical mode, has been designated the eighteenth place in the sequence. The Bani of six Gurus, four Bhagats, and three Sikhs is recorded under this rag from pages 876 to 974 of the Guru Granth Sahib. This includes one hundred sixty-six Sabads by Guru Nanak Sahib, seven by Guru Angad Sahib, ninety-one by Guru Amardas Sahib, six by Guru Ramdas Sahib, one hundred sixty-eight by Guru Arjan Sahib, three by Guru Teghbahadar Sahib, twelve by Bhagat Kabir Ji, four by Bhagat Namdev Ji, and one each by Bhagat Ravidas Ji, and Bhagat Beni Ji. Bani ‘Sadd’ revealed by Baba Sunder and ‘Ramkali Ki Var’ by Bhai Balvand and Bhai Satta are also recorded under this rag. Compositions of ‘Sidh Gosti’ and ‘Oankar’ by Guru Nanak Sahib, and ‘Anand’ by Guru Amardas Sahib are also revealed in this rag.

Ramkali is an old and famous rag. The names Ramkriti, Ramkriya, Ramgiri, Ramkari, and Ramkeli are also found to be used for this rag. Rag Ramkali has an important place in the rags sung in the morning. It is known as a rag of compassion. This rag has been specially adopted by the Nath-Yogis. The contributors to the Guru Granth Sahib have also revealed most of their compositions, addressed to or speaking about the Nath-Yogis or Sidhs, in this rag. ‘Sidh Gosti’ revealed by Guru Nanak Sahib under this rag, is an example of that.

In the Guru Granth Sahib, Sabad is considered more important than rag. Rag is the means through which all-pervasive IkOankar is to be enshrined in the heart. Referring to Rag Ramkali in the Guru Granth Sahib, Guru Amardas Sahib states that if by singing this rag, the all-pervading IkOankar dwells within, only then should one be considered adorned: rāmkalī rāmu mani vasiā tā baniā sīgāru. -Guru Granth Sahib 950.

Another rag, Rag Ramkali Dakhni, is also recorded under Rag Ramkali in the Guru Granth Sahib. This rag only appears in Gurmat Sangit (Sikh Devotional Music). It is not found in Hindustani or Carnatic music.

Scholars have differing opinions about Rag Ramkali. The Bharat school of Hindustani Music considers it a ragini of Rag Hindol, while the Hanuman school of thought considers it a ragini of Srirag. Bhai Kahn Singh Nabha considers it to be an aurav-sampuran ragini of Bhairav that.

Bhai Avtar Singh Bhai Gurcharn Singh mention three different forms of Rag Ramkali. First is aurav-sampuran, in which Ni komal (flat) and Ma shudh (natural) are used. In the second one, both Ni are used. In the third one, both Ma, and both Ni are used. Its Pa is vadi (prominent note), and its Sa is samvadi (sub-prominent note). The third form is more prevalent. Gurmat Sangit scholars such as S. Gian Singh Abbottabad, Dr. Gurnam Singh, and the Rag Nirnayak Committee accept the following form of this rag:

Description of Rag Ramkali
That: Bhairav.
Svar (notes): Re and Dha komal (flat), both Ma, both Ni, rest all are shudh (natural).
Varjit Svar (forbidden notes): Re (in aroh - ascending scale).
Jati (class): sharav-sampuran (some scholars believe it to be sampuran-sampuran).
Vadi (prominent note): Pa.
Samvadi (sub-prominent note): Re.
Aroh (ascending scale): Sa, Ga Ma Pa, Dha (komal - flat) Ni Sa (tar saptak - upper octave).
Avroh (descending scale): Sa (tar saptak - upper octave) Ni Dha (komal - flat), Pa, Ma (tivar - sharp) Pa Dha (komal - flat) Ni (komal - flat) Dha (komal - flat) Pa, Ga Ma Re (komal - flat), Sa.
Mukh Ang/Pakar (main part): Dha (komal - flat) Pa, Ma (tivar - sharp) Pa Dha (komal - flat) Ni (komal - flat) Dha (komal - flat) Pa, Ga Ma Re (komal - flat) Sa.

Singing Time
The first quarter of the day.


Sabad 3:
Rag Prabhati
Of the thirty-one principal rags in the Guru Granth Sahib, Rag Prabhati, a musical mode, has been designated the thirtieth place in the sequence. The Bani of four Gurus and three Bhagats is recorded under this rag from pages 1327 to 1351 of the Guru Granth Sahib. This includes twenty-four Sabads by Guru Nanak Sahib, nine by Guru Amardas Sahib, seven by Guru Ramdas Sahib, eighteen by Guru Arjan Sahib, five by Bhagat Kabir Ji, three by Bhagat Namdev Ji, and one by Bhagat Beni Ji.

Rag Prabhati is an original rag of the Gurmat Sangit (Sikh Devotional Music). The mention of this rag is not found in the texts of the Hindustani music. Thus, this rag is a special contribution of the Gurus and Bhagats to Hindustani music. While rags like Prabhat, Prabhat Bhairav, Prabhat Pat Todi, etc., are described in Hindustani music, there is no mention of Rag Prabhati.

The Guru Granth Sahib also contains Bani in three other types of Rag Prabhati: Prabhati Bibhas, Bibhas Prabhati, and Prabhati Dakhni.

Of all the rags of the dawn, Prabhati is one of the most beautiful and unique rags. Throughout the movement of this rag, glimpses of rag Bhairav, Ramkali, Lalit, and Kalingara are visible. This rag naturally deviates from these based on its independent rules. The nature of this rag is serious, and the feelings of devotion in it are very pleasant.

According to the rag-ragini classification, Bhai Vir Singh considers Prabhati a ragini, which has gained prominence through Gurmat Sangit (Sikh Devotional Music). Bhai Kahn Singh Nabha also considers Prabhati a ragini, derived from Bhairav that ​​. There is no mention of this rag in the ‘Ragmala’ of the Guru Granth Sahib.

S. Gian Singh Abbottabad and Sant Sarwan Singh Gandharv describe a form of Rag Prabhati of the Bhairav that. Prof. Tara Singh accepts two forms of this rag, one of Bhairav that and the other of Kalyan that. According to him, Rag Prabhati is a combination of Bhairav, Ramkali, Lalit, and Kalingara rags. In the form of Bhairav that, Re and Dha are komal (flat), while both Ma and the rest of the notes are shudh (natural). He made no mention of the form of Kalyan that. Bhai Avtar Singh and Bhai Gurcharn Singh describe both angs, Bhairav ​​and Kalyan, of Rag Prabhati.

The recorded tune of ‘kartā tū merā jajmānu’ in Kalyan that by Bhai Samund Singh, a renowned kirtaniya, is occasionally broadcast on All India Radio, Jalandhar. Bhai Samund Singh used to sing the Sabad, ‘bolahu sacu nāmu kartār’ in the same form of the rag. Generally, Rag Prabhati of Kalyan/Bilawal that is more popular than Rag Prabhati of Bhairav that. The form of this rag approved by the Rag Nirnayak Committee is as follows:

Description of Rag Prabhati
That: Bilaval.
Svar (notes): All notes are shudh (natural).
Varjit Svar (forbidden notes): Ma and Ni in aroh (ascending scale), and Ma in avroh (descending scale).
Jati (class): aurav-sharav.
Vadi (prominent note): Sa.
Samvadi (sub-prominent note): Pa.
Aroh (ascending scale): Sa Re Ga, Pa, Dha Sa (tar saptak - upper octave).
Avroh (descending scale): Sa (tar saptak - upper octave) Ni Dha Ni Pa, Ga Re Sa.
Mukh Ang/Pakar (main part): Pa Pa Sa (tar saptak - upper octave), Ni Dha Ni Pa, Pa Dha, Ga Pa Dha, Pa.

Singing Time
The first quarter of the morning.