An Explanation of “PARR-TAAL” by Bhai Kultar Singh Avtar Singh Ragi

Published on January 29th, 2007

[Transcribed Notes from Audio Recording which took place in Gurdwara Sahib Boston, Mass. in July 2005.]

“This is one of the original compositions, original tunes, of the Guru’s time. This shabad is compiled in ਸ੍ੀ ਗੁਰੂ ਗ੍ਰੰਥ ਸਾਹਿਬ ਜੀ/Siri Guru Granth Sahib Jee, under the subtitle of, “ਪੜਤਾਲ / Parrtaal“. All of the shabads that have the subtitle of ਪੜਤਾਲ/Parrtaal, are very unique, and are very different from the rest of ਗੁਰਬਾਣੀ/Gurbani. Their style of poetry is different. Thier style of singing is different. One thing that we must not forget is that ਗੁਰਬਾਣੀ/Gurbani was sung first, written later. All the shabads which has “ਰਾਗ / Raag” on them, they were sung, and then written. So, when ਗੁਰੂ ਸਾਹਿਬ/Guru Sahib compiles Bani with the title of ਪੜਤਾਲ / Parrtaal, as the name ਪੜਤਾਲ/Parrtaal suggests, that the rhythm pattern changes within the composition. A Certain portion of that composition are in certain rhythm pattern. Even if we want to change it, we cannot change it because it will not fit in it. There is a natural rhythm of every poetry, and in the shabad of ਪੜਤਾਲ / Parrtaal, we have to follow the natural rhythm of the Bani. That is what ਗੁਰੂ ਰਾਮ ਦਾਸ ਜੀ/Guru Raam Daas Jee has introduced to mankind for the first time. You will not find ਪੜਤਾਲਂਾ/Parrtaals of ਗੁਰੂ ਨਾਨਕ ਦੇਵ ਜੀ/Guru Nanak Dev Jee, ਗੁਰੂ ਅੰਗਦ ਦੇਵ ਜੀ/Guru Angad Dev Jee, ਗੁਰੂ ਅਮਰ ਦਾਸ ਜੀ/Guru Amar Daas Jee… This was introduced by ਗੁਰੂ ਰਾਮ ਦਾਸ ਜੀ/Guru Raam Daas Jee Maharaj. Then, you will also find Bani in Parrtaal, with the ਪੜਤਾਲ / Parrtaal title, written by Guru Arjan Dev Jee also.

So, it is unique. It’s a different kind of poetry. It is all, rhythm. They are generally long sentences, of the shabad’s veechaar, under ਪੜਤਾਲ / Parrtaal. But every sentence, every long sentence has got small portions which have thier own rhythm.

This is the ਪੜਤਾਲ / Parrtaal of Raag Kanaaraa. Taal is Ada-chau Taalaa, 14 beats. And, there is a unique way of playing ਜੋੜੀ/Jori on this as well - it is OPEN-handed ਜੋੜੀ/Jori. Why I’m saying “ਜੋੜੀ/Jori”, not “ਤਬਲਾ/Tabla”, because, the main difference between ਜੋੜੀ/Jori and ਤਬਲਾ/Tablais the bigger drum. Tabla has got a duggi with black ink on it, and this [ਜੋੜੀ/Jori] has a ਧਾਮਂਾ/Dhaamaa, which has got ਆਟਾ/aataa (dough) put on it. It gives you a sound of ਪਖਾਵਜ/Pakhawaj, which was originally used in the Guru’s time. So ਜੋੜੀ/Jori was the instrument that was introduced by Guru Sahib.

So let’s enjoy this ‘ਕਾਨੜੇ ਕੀ ਪੜਤਾਲ/Kannarray Kee Parrtaal’ - ਹਿਰ ਜਸੁ ਗਾਵਹੁ ਭਗਵਾਨ ॥/ Har Jas Gaavoh Bhagvaan.“

ਕਾਨੜਾ ਮਹਲਾ 4 ॥
ਹਿਰ ਜਸੁ ਗਾਵਹੁ ਭਗਵਾਨ ॥
ਜਸੁ ਗਾਵਤ ਪਾਪ ਲਹਾਨ ॥
ਮਿਤ ਗੁਰਮਿਤ ਸੁਿਨ ਜਸੁ ਕਾਨ ॥
ਹਿਰ ਹੋ ਹੋ ਕਿਰਪਾਨ ॥1॥ ਰਹਾਉ ॥
ਤੇਰੇ ਜਨ ਿਧਆਵਿਹ ਇਕ ਮਿਨ ਇਕ ਿਚਿਤ ਤੇ ਸਾਧੂ ਸੁਖ ਪਾਵਿਹ ਜਿਪ ਹਿਰ ਹਿਰ ਨਾਮੁ ਨਿਧਾਨ ॥
ਉਸਿਤਿਤ ਕਰਿਹ ਪ੍ਰਭ ਤੇਰੀਆ ਿਮਿਲ ਸਾਧੂ ਸਾਧ ਜਨਾ ਗੁਰ ਸਿਤਗੁਰੂ ਭਗਵਾਨ ॥1॥
ਜਿਨ ਕੈ ਿਹਰਦੈ ਤੂ ਸੁਆਮੀ ਤੇ ਸੁਖ ਫਲ ਪਾਿਵਹ ਤੇ ਤਰੇ ਭਵ ਿਸੰਧੁ ਤੇ ਭਗਤ ਹਿਰ ਜਾਨ ॥
ਤਿਨ ਸੇਵਾ ਹਮ ਲਾਇ ਹਰੇ ਹਮ ਲਾਇ ਹਰੇ ਜਨ ਨਾਨਕ ਕੇ ਹਿਰ ਤੂ ਤੂ ਤੂ ਤੂ ਤੂ ਭਗਵਾਨ ॥2॥6॥12॥

- ਅੰਗ 1297; ਗੁਰੂ ਰਾਮ ਦਾਸ ਜੀ

Kaanraa, Fourth Mehla:
Sing the Praises of the Lord God.
Singing His Praises, sins are washed away.
Through the Word of the Guru’s Teachings, listen to His Praises with your ears.
The Lord shall be Merciful to you. ||1||Pause||
Your humble servants focus their consciousness and meditate on You with one-pointed mind;
those Holy beings find peace, chanting the Name of the Lord, Har, Har, the Treasure of Bliss.
They sing Your Praises, God, meeting with the Holy, the Holy people, and the Guru, the True Guru, O Lord God. ||1||
They alone obtain the fruit of peace, within whose hearts You, O my Lord and Master, abide.
They cross over the terrifying world-ocean - they are known as the Lord’s devotees.
Please enjoin me to their service, Lord, please enjoin me to their service.
O Lord God, You, You, You, You, You are the Lord of servant Nanak. ||2||6||12||

- ਭਾਈ ਕੁਲਤਾਰ ਸਿੰਘ ਅਵਤਾਰ ਸਿੰਘ ਰਾਗੀ (Bhai Kultar Singh Avtar Singh Ragi)