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Messages - rabbdabanda
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181
« on: July 23, 2014, 08:07:40 AM »
veer ji, very nice work :ok: bas khyal rakheo hun ese topic ch hi post payeo apni.. wakh wakh topic na create kro.. beshaq din ch ik post pao... kyun k 24 baaad hi tusi dobara post kr skde o..ni te oh ose ch ral jandi aa.. tuhade sare topic main ese ch pa ditte ne hun wakh na bnayeo unless topic different howe. dhanwaad :)
182
« on: July 23, 2014, 07:36:19 AM »
patandro ata pata v daso... kithe meeh pea te kithe romantic hoea :D: :D:
183
« on: July 23, 2014, 07:30:48 AM »
SSA! :hehe:
ajj meeh payi janda :rockon: main sochea ah topic hi bna diye... sare jane roz apne apne area/pind/shehar da weather dasso k kiwe aa..garmi sardi thand snow cloudy jo vi a... sare ethe post kro :pagel: weather te apa dekh skde net te par... akhi dekha haal beyaan kro... apne shabadan de wich :D:
es time main india aya hoea.so,
Amritsar,Punjab, India: :banana:
bijli chamak rahi aa mitro... badal garzz rhe aaa... te ik hune hune meeh da zordaar shitta rabb ne sutteya 20 minute pehlan te aje tak nikkia nikkia kaniya da meeh payi ja reha aa... baarish di tip tip di awaz sun ke... mera jee krda,.. saun di jhadi wala gaana laa k nachan nu... ese bahane meeh ch syane kehnde hunde pitt marjugi :D: swer da kaaliyan ghataawan nal poora ambarsar gireya peya si.. akhir kaar rabb ne shehar de lokan diya garmi nal niklian cheekan nu nerhe hoke sunea te hun mamla thanda thanda jea ho gya hai.. lokan de chehre te muskaan aa gayi hai. te jwaakan ne sir te lifaafe bann ke galiyan ch shaalan marnia shuru krtian han.
Dhanwaad! :banana:
184
« on: July 23, 2014, 06:09:48 AM »
keli :D:
185
« on: July 23, 2014, 04:54:39 AM »
gali bhindi :D:
186
« on: July 23, 2014, 04:46:31 AM »
gal sari meaning di hor mai kyu sunana ehnu :D:
187
« on: July 23, 2014, 03:34:40 AM »
ah gaana jina sunnda ohna rajj ni aunda :love:
188
« on: July 22, 2014, 09:56:17 PM »
na larho bhai na lrho!! tuhade dowan de agge benti a... Pm ya pj ton bahar apni gall niberho.. lok tamsha na bano na bnao! J mazaak seh ni hunda tah karo na! - topic locked!
189
« on: July 22, 2014, 09:12:48 PM »
1 bonus track! :D: janta di demand nu madhe-nazar rakhde hoye asin ik hor ubarde hoye kalakaar nu tuhade nal ru-ba-ru krwaun ja rhe aa :
190
« on: July 22, 2014, 07:23:54 AM »
Taya 1,4 nu convert kar k paa mere kol ta download ho k v ni challya No.1 ta na mp3 aa na mp4 oh m4a ch ee chahd ditta :D:
chalde aa j pc ya laptop ton suniye tan
191
« on: July 21, 2014, 03:13:52 PM »
mainu lagda ehnu mp4 ton mp3 ch convert krna pena...fer upload kr k chaluga... download kr k sunlo veerji
192
« on: July 21, 2014, 03:04:16 PM »
Sat Shri Akal Dosto!Ongoing Singing Competition wich dilchapsi dikhaun walean te os wich hiss lain waleya da bahut bahut dhanwaad. jinha di entry disqualify hoyi ohna nal sanu behad afsos hai. :hugg: par kise kisam di chusat chalaki jida k Pj staff bardaasht nai kr skda :D: es layi agge ton eda da karnama na kita jawe :slap:
Enteries jo sade kol pahunchian oh es prakar han. kirpa kar k sare participants nu dhyan nal suno te fer hi vote kreo. ehda na howe k koi deserving candidate tuhade keemti vote ton wanjhe reh jawe . baki eh tuhada nijhi haq hai, jithe jinhu marzi vote kro. dhanwaad!Contestant no. 1Contestant no. 2Contestant no. 3Contestant no. 4Contestant no. 5
193
« on: July 20, 2014, 01:30:55 AM »
last day for enteries so far jina diya ayia.. ohna wichon 3 disqualify hogia.. ohna nu dobara email bhejia gayia... oh jarur chek kr len.. te jina jina ne v bhejnia hor... bhej dao!! last day last day!!
PS: enteries bhejan walea da dhanwaad... fatte chakkte :here:
194
« on: July 20, 2014, 01:06:36 AM »
20 july 2014
ਜੈਤਸਰੀ ਮਹਲਾ ੫ ਘਰੁ ੨ ਛੰਤ ੴ ਸਤਿਗੁਰ ਪ੍ਰਸਾਦਿ ॥ ਸਲੋਕੁ ॥ ਊਚਾ ਅਗਮ ਅਪਾਰ ਪ੍ਰਭੁ ਕਥਨੁ ਨ ਜਾਇ ਅਕਥੁ ॥ ਨਾਨਕ ਪ੍ਰਭ ਸਰਣਾਗਤੀ ਰਾਖਨ ਕਉ ਸਮਰਥੁ ॥੧॥ ਛੰਤੁ ॥ ਜਿਉ ਜਾਨਹੁ ਤਿਉ ਰਾਖੁ ਹਰਿ ਪ੍ਰਭ ਤੇਰਿਆ ॥ ਕੇਤੇ ਗਨਉ ਅਸੰਖ ਅਵਗਣ ਮੇਰਿਆ ॥ ਅਸੰਖ ਅਵਗਣ ਖਤੇ ਫੇਰੇ ਨਿਤਪ੍ਰਤਿ ਸਦ ਭੂਲੀਐ ॥ ਮੋਹ ਮਗਨ ਬਿਕਰਾਲ ਮਾਇਆ ਤਉ ਪ੍ਰਸਾਦੀ ਘੂਲੀਐ ॥ ਲੂਕ ਕਰਤ ਬਿਕਾਰ ਬਿਖੜੇ ਪ੍ਰਭ ਨੇਰ ਹੂ ਤੇ ਨੇਰਿਆ ॥ ਬਿਨਵੰਤਿ ਨਾਨਕ ਦਇਆ ਧਾਰਹੁ ਕਾਢਿ ਭਵਜਲ ਫੇਰਿਆ ॥੧॥
glossary: ਅਗਮ = ਅਪਹੁੰਚ। ਕਥਨੁ ਨ ਜਾਇ = ਬਿਆਨ ਨਹੀਂ ਹੋ ਸਕਦਾ। ਅਕਥੁ = ਬਿਆਨ ਤੋਂ ਪਰੇ। ਪ੍ਰਭ = ਹੇ ਪ੍ਰਭੂ! ਰਾਖਨ ਕਉ = ਰੱਖਿਆ ਕਰਨ ਲਈ। ਸਮਰਥੁ = ਤਾਕਤ ਵਾਲਾ।੧। ਪ੍ਰਭ = ਹੇ ਪ੍ਰਭੂ! ਗਨਉ = ਮੈਂ ਗਿਣਾਂ, ਗਨਉਂ। ਅਸੰਖ = ਗਿਣਤੀ ਤੋਂ ਪਰੇ, ਅਣਗਿਣਤ। ਖਤੇ = ਪਾਪ। ਫੇਰੇ = ਗੇੜੇ। ਨਿਤ ਪ੍ਰਤਿ = ਸਦਾ ਹੀ। ਸਦ = ਸਦਾ। ਬਿਕਰਾਲ = ਭਿਆਨਕ। ਤਉ ਪ੍ਰਸਾਦੀ = ਤੇਰੀ ਕਿਰਪਾ ਨਾਲ। ਘੂਲੀਐ = ਬਚ ਸਕੀਦਾ ਹੈ। ਲੂਕ ਕਰਤ = ਲੁਕਾਉ ਕਰਦਿਆਂ। ਬਿਖੜੇ = ਔਖੇ। ਨੇਰ ਹੂ ਤੇ ਨੇਰਿਆ = ਨੇੜੇ ਤੋਂ ਨੇੜੇ। ਭਵਜਲ = ਸੰਸਾਰ-ਸਮੁੰਦਰ। ਫੇਰਿਆ = ਗੇੜਾਂ ਵਿਚੋਂ ॥੧॥
जैतसरी महला ५ घरु २ छंत ੴ सतिगुर प्रसादि ॥ सलोकु ॥ ऊचा अगम अपार प्रभु कथनु न जाइ अकथु ॥ नानक प्रभ सरणागती राखन कउ समरथु ॥१॥ छंतु ॥ जिउ जानहु तिउ राखु हरि प्रभ तेरिआ ॥ केते गनउ असंख अवगण मेरिआ ॥ असंख अवगण खते फेरे नितप्रति सद भूलीऐ ॥ मोह मगन बिकराल माइआ तउ प्रसादी घूलीऐ ॥ लूक करत बिकार बिखड़े प्रभ नेर हू ते नेरिआ ॥ बिनवंति नानक दइआ धारहु काढि भवजल फेरिआ ॥१॥
english: Jaitsree, Fifth Mehl, Second House, Chhant: One Universal Creator God. By The Grace Of The True Guru: Shalok: God is lofty, unapproachable and infinite. He is indescribable - He cannot be described. Nanak seeks the Sanctuary of God, who is all-powerful to save us. ||1|| Chhant: Save me, any way You can; O Lord God, I am Yours. My demerits are uncountable; how many of them should I count? The sins and crimes I committed are countless; day by day, I continually make mistakes. I am intoxicated by emotional attachment to Maya, the treacherous one; by Your Grace alone can I be saved. Secretly, I commit hideous sins of corruption, even though God is the nearest of the near. Prays Nanak, shower me with Your Mercy, Lord, and lift me up, out of the whirlpool of the terrifying world-ocean. ||1||
Punjabi: ਰਾਗ ਜੈਤਸਰੀ, ਘਰ ੨ ਵਿੱਚ ਗੁਰੂ ਅਰਜਨਦੇਵ ਜੀ ਦੀ ਬਾਣੀ 'ਛੰਤ' (ਛੰਦ)। ਅਕਾਲ ਪੁਰਖ ਇੱਕ ਹੈ ਅਤੇ ਸਤਿਗੁਰੂ ਦੀ ਕਿਰਪਾ ਨਾਲ ਮਿਲਦਾ ਹੈ। ਸਲੋਕੁ। ਹੇ ਨਾਨਕ! (ਆਖ-) ਹੇ ਪ੍ਰਭੂ! ਮੈਂ ਤੇਰੀ ਸਰਨ ਆਇਆ ਹਾਂ, ਤੂੰ (ਸਰਨ ਆਏ ਦੀ) ਰੱਖਿਆ ਕਰਨ ਦੀ ਤਾਕਤ ਰੱਖਦਾ ਹੈਂ। ਹੇ ਸਭ ਤੋਂ ਉੱਚੇ! ਹੇ ਅਪਹੁੰਚ! ਹੇ ਬੇਅੰਤ! ਤੂੰ ਸਭ ਦਾ ਮਾਲਕ ਹੈਂ, ਤੇਰਾ ਸਰੂਪ ਬਿਆਨ ਨਹੀਂ ਕੀਤਾ ਜਾ ਸਕਦਾ, ਬਿਆਨ ਤੋਂ ਪਰੇ ਹੈ।੧। ਛੰਤੁ। ਹੇ ਹਰੀ! ਹੇ ਪ੍ਰਭੂ! ਮੈਂ ਤੇਰਾ ਹਾਂ, ਜਿਵੇਂ ਜਾਣੋ ਤਿਵੇਂ (ਮਾਇਆ ਦੇ ਮੋਹ ਤੋਂ) ਮੇਰੀ ਰੱਖਿਆ ਕਰ। ਮੈਂ (ਆਪਣੇ) ਕਿਤਨੇ ਕੁ ਔਗੁਣ ਗਿਣਾਂ? ਮੇਰੇ ਅੰਦਰ ਅਣਗਿਣਤ ਔਗੁਣ ਹਨ। ਹੇ ਪ੍ਰਭੂ! ਮੇਰੇ ਅਣਿਗਣਤ ਹੀ ਔਗੁਣ ਹਨ, ਪਾਪਾਂ ਦੇ ਗੇੜਾਂ ਵਿਚ ਫਸਿਆ ਰਹਿੰਦਾ ਹਾਂ, ਨਿੱਤ ਹੀ ਸਦਾ ਹੀ ਉਕਾਈ ਖਾ ਜਾਈਦੀ ਹੈ। ਭਿਆਨਕ ਮਾਇਆ ਦੇ ਮੋਹ ਵਿਚ ਮਸਤ ਰਹੀਦਾ ਹੈ, ਤੇਰੀ ਕਿਰਪਾ ਨਾਲ ਹੀ ਬਚ ਸਕੀਦਾ ਹੈ। ਅਸੀਂ ਜੀਵ ਦੁਖਦਾਈ ਵਿਕਾਰ (ਆਪਣੇ ਵਲੋਂ) ਪਰਦੇ ਵਿਚ ਕਰਦੇ ਹਾਂ, ਪਰ, ਹੇ ਪ੍ਰਭੂ! ਤੂੰ ਸਾਡੇ ਨੇੜੇ ਤੋਂ ਨੇੜੇ (ਸਾਡੇ ਨਾਲ ਹੀ) ਵੱਸਦਾ ਹੈ। ਨਾਨਕ ਬੇਨਤੀ ਕਰਦਾ ਹੈ ਹੇ ਪ੍ਰਭੂ! ਸਾਡੇ ਉਤੇ ਮੇਹਰ ਕਰ, ਸਾਨੂੰ ਜੀਵਾਂ ਨੂੰ ਸੰਸਾਰ-ਸਮੁੰਦਰ ਦੇ (ਵਿਕਾਰਾਂ ਦੇ) ਗੇੜ ਵਿਚੋਂ ਕੱਢ ਲੈ ॥੧॥
Hindi: राग जैतसरी, घर २ में गुरु अर्जनदेव जी की बानी 'छंद' ।अकाल पुरख एक है और सतगुरु की कृपा द्वारा प्राप्त होता है। सलोकु। हे नानक! (कह) हे प्रभु! में तेरी सरन आया हूँ, तुम (सरन आए की) रक्षा करने की ताकत रखते हो। हे सब से ऊचे! हे अपहुच! हे बयंत! तू सब का मालिक है, तेरा सरूप बयां नहीं किया जा सकता, बयां से परे है।१। छंत। हे हरी! हे प्रभु! मैं तेरा हूँ, जैसे जानो वेसे (माया के मोह से) मेरी रक्षा करो। मैं (अपने) कितने अवगुण गिनू? मेरे अंदर अनगिनत अवगुण हैं। हे प्रभु! मेरे अनगिनत ही अवगुण हैं, पापों के घेरे में फसा रहता हूँ, रोज ही उकाई खा जाते हैं। भयानक माया के मोह में मस्त रहते हैं, तेरी कृपा से ही बच पाते हैं। हम जीव दुखदाई विकार (अपने तरफ से) परदे में करते हैं, परन्तु, हे प्रभु! तुम हमारे पास से भी पास बसते हो। नानक बनती करता है हे प्रभु! हमारे ऊपर कृपार कर, हम जीवों को संसार-सागर के (माया के) घेर से नकल ले॥१॥
195
« on: July 19, 2014, 04:02:20 PM »
paathiyan maaro ehde :
196
« on: July 19, 2014, 02:38:08 PM »
jina jina ne "yes" nu vote payi si te participate nahi kita...ohna nu kal ton 5 dina layi ban kita jauga... :
197
« on: July 19, 2014, 02:19:35 PM »
A raga is a complex structure of musical melody used in the Indian classical music. It is a set of rules of how to build a melody which can ignite a certain mood in the reciter and listeners. The Sikh holy book, Guru Granth Sahib, is composed in and divided by 31 ragas. Each raga is a chapter or section in the Guru Granth Sahib starting with Shree raag, and all the hymns produced in Shree raag are found in this section ordered chronologically by the Guru or other Bhagat that have written hymns in that raga.Ragas have a direct relationship to human moods and the following are the connections between Ragas and feeling:
Raga Asa is an Indian musical raga (composition) that appears in the Sikh tradition from northern India and is part of the Sikh holy scripture the Guru Granth Sahib. Every raga has a strict set of rules which govern the number of notes that can be used; which notes can be used; and their interplay that has to be adhered to for the composition of a tune. In the Guru Granth Sahib, the Sikh holy Granth (book) there are a total composition of 31 ragas and this raga is the fourth raga to appear in the series. The composition in this raga appear on 142 pages from page numbers 347 to 489. Asa translates to hope. It gives the mood of making effort and provides the feelings of inspiration, courage, determination, ambition, passion, and zeal to the reciter and listeners. Asa is a very old raga which was once popular in the Punjab (northern India) but seldom heard in concerts today. In the Guru Granth Sahib's Ragmala this is a ragini (subset) of raga Megha. However, today it is assigned to the "Bilaval" thata ("set"). Asa is a devotional raga for the cold season and is performed in the early morning just before sunrise. However, it is also known as a twilight melody with a calm mystical mood. Raga Asa was used by Dhanul Laskangadas, Guru Nanak, Guru Angad, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadur
Raag Bairari (ਬੈਰਾੜੀ) This raga is the ninth raga to appear in the series. The composition in this raga appear on a total of only 2 pages from page numbers 719 to 721. This raga appears in the Ragmala as the first ragini ("subset") of Sri raga. In the Mesakarna Ragmala (1509), which is almost the same as that of the Guru Granth Sahib, the first ragini of Siri Raga is given as Vairati. However, modern sources do not give Bairari nor Vairati but Barari and Varari as well as Varati are listed. Kaufmann believes that all of these names refer to the same raga, Barari. Whether this is the same as the old Bairari is open to question. The possibility always exists that Bairari was a regional tune. It was used by Guru Ram Das for six short hymns and by Guru Arjan for one. This raga is performed during the evening and it is currently assigned to the Marva thata ("set"). It resembles Purva Kalyan, the main difference being the use of Pa which is strong in Bairari and weak in Purva-Kalyan. Popley places Bairari in the same group as Sri Raga and this would agree with the Ragmala.
Raag Basant (ਬਸੰਤੁ) During spring season of the year Basant may be performed at any time of the day or night. Otherwise, it is reserved for the time between 9 p.m. and midnight. The Ragmala gives Basant as a putra (son) of Hindol, also a spring raga. Today it belongs to the Purvi thata. The only variant noted in the Holy Book is Basant-Hindol. Basant is a very old raga dating from the 8th century. Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadar composed Shabads in this raga. Performed in slow tempo, this gentle melody depicts quiet joy
Raag Bhairon (ਭੈਰਉ) In the Guru Granth Sahib, the Sikh holy Granth (book) there are a total of 31 raga compositions and this raga is the twenty-fourth raga to appear in the series. The composition in this raga appear on a total of 43 pages from page numbers 1125 to 1168. Bhairav was an important raga at the time of Guru Nanak and has continued to retain its significance and popularity. Bhairav (not to be confused with Bhairavi) appears in the Ragmala as husband/wife of Bhairavi and four other raginis. Today it is the head raga for one of the ten thatas. The "Raga Sagara", a journal of circa 8th century, describes this raga as awe-inspiring and as expressing the "fulfilment of the desire to worship." Mesakarna (1509) calls this morning melody of the autumn season one of awesome grandeur. Performed before sunrise, this raga was used by Guru Nanak, Guru Amar Das, Guru Ram Das, and Guru Arjan for 99 hymns.
Raag Bihagara (ਬਿਹਾਗੜਾ) Bihagara is the seventh raga to appear in the series. The composition in this raga appear on 20 pages from page 537 to 557. Bihagara is very similar to the modern and very popular raga Bihag. The resemblance is so close that many performers have trouble maintaining the significance of each. Bihagara is not given in the Ragmala. Today it is classified under the Bilaval thata. Guru Ram Das, Guru Arjan and Guru Tegh Bahadar set a total of 17 Shabads (hymns), chhants and a var to this raga. This raga is performed during the early night time between 9 p.m. and midnight, and it creates a devotional mood and has a tranquilising effect. The texts composed to this raga describes how complete peace and satisfaction comes to the person who surrenders everything to the Lord.
Raag Bilaval (ਬਿਲਾਵਲੁ) Bilawal is the sixteenth raga to appear in the series. The composition in this raga appear on a total of 64 pages from page numbers 795 to 859.Bilawal had become the basic scale for North Indian music by the early part of the 19th century. Its tonal relationships are comparable to the Western music C major scale. Bilawal appears in the Ragmala as a ragini of Bhairava, but today it is the head of the Bilawal thaat. The Ragmala gives Bilawal as a putra (son) of Bhairav, but no relation between these two ragas is made today. Bilawal is a morning raga to be sung with a feeling of deep devotion and repose, often performed during the hot months. Over 170 hymns were composed to this raga by Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadar.
Raag Devagandhari (ਦੇਵਗੰਧਾਰੀ) this raga is the sixth raga to appear in the series. The composition in this raga appear on a total of 10 pages from page numbers 527 to 537.Today Devagandhari is a rare, little known, ancient raga. Its performance time is the morning hours. Historically it has had three forms; the less ornamented type is described here. In the Ragmala, Devagandhari is a ragini of Malkaunsa. Today it belongs to the Asavari thata. Its mood is one of prayerful supplication presenting a heroic effect. The texts set to this raga reveal a heroic search for these qualities which lead one to the Lord. This raga was used primarily by Guru Arjan. Forty-Seven hymns were composed to it including three by Guru Tegh Bahadar and six by Guru Ram Das.
Raag Dhanasari (ਧਨਾਸਰੀ) Raga Dhanashree appears in the Ragmala as a ragini of Malkauns and currently is a member of the Kafi thaat. It closely resembles Bhimpalasi in musical content but the vadis and moods are different. Dhanashree is performed in the early afternoon and presents a cheerful, happy mood. It provided the setting for hymns by Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadar for a total of 101 hymns
Raag Gauri (ਗਉੜੀ) This raga is the third raga to appear in the series. The composition in this raga appear on a total of 196 pages from page numbers 151 to 347. Gauri is one of several ragas that appears in the Ragmala as a ragini (subset) of Sri Raga. This is an evening raga assigned to autumn and its mood is contemplative. The composition in Gauri is very voluminous. Gauri was used by Guru Nanak, Guru Amar Das, Guru Ram Das, Guru Arjan and Guru Tegh Bahadur. Several forms of Gauri Raga exist historically and this probably accounts for the large number of variants: Gauri Cheti, Gauri Bairagan, Gauri Dipaki, Gauri Purbi-Dipaki, Gauri Guareri, Gauri-Majh, Gauri Malava, Gauri Mala, Gauri Sorath, Gauri Dakhani.
To be Continued..
198
« on: July 18, 2014, 02:59:59 AM »
bari barsi khatan gya si.. bari barsi khatan gya si.. khat ke leandi Car aje tu na na kardi ae.. agge agge bhajjdi ae.. ni ik din tarsengi tu mitran da pyaar ni ik din tarsengi tu mitran da pyaar
:hehe:
199
« on: July 18, 2014, 02:25:25 AM »
:D: .
200
« on: July 17, 2014, 11:58:46 AM »
167 pichle saal da hi aa!! : es saal khedi ni ! boring hogi hun
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