Harmonium and it’s use in Gurmat Sangeet

Giani Harpreet Singh, the Jathedar Akaal Takhat Sahib in May 2022 urged the Shiromani Gurdwara Parbandhak Committee to eliminate the use of harmoniums in hymn-singing at Sri Darbar Sahib within a three-year period. The intention behind this call was to rekindle the tradition of classical Sikh religious singing by embracing string instruments native to the Indian subcontinent, such as the taus, rubab, surmandal, sarangi, sitar, and tanpura. This effort aims to bring back the authentic musical accompaniment that was historically associated with Sikh devotional music.

Gurbani being recited without Harmonium at Darbar Sahib, Amritsar.

We witness a change today in the morning of Aug 14th, 2023 while listening to Gurbani on Air, the Harmonium has been totally replaced

Gurmat Sangeet, the traditional music of Sikhism, underwent significant developments in the 19th century. While the harmonium is indeed a Western instrument, its introduction and adoption within Gurmat Sangeet during this period brought about notable changes in musical practices.

The harmonium's simple and easy playing technique made it appealing and accessible to a wide range of musicians. This attribute, coupled with its ability to provide harmonies and accompaniment, led to its integration into Gurmat Sangeet ensembles. The instrument's use in Sikh devotional music expanded during the colonial period.

In 1840, Alexandre Debain, a French innovator, crafted his harmonium. Notably, the period following 1850 witnessed pivotal advancements, predominantly spearheaded by Victor Mustel in Paris and Jacob Estey in the United States, as documented by Britannica. it's important to note that the harmonium's adaptation for Indian music, including Gurmat Sangeet, involved further modifications and refinements to suit the specific musical requirements and cultural context.

In Gurmat Sangeet, the harmonium's role evolved over time, and its use became an integral part of the musical tradition, accompanying hymns and kirtans in Sikh religious settings. This incorporation of the harmonium into Gurmat Sangeet demonstrates how musical traditions can also adapt and embrace new instruments to enrich their expressions.

Sarinda

The Sarangi and Nepali Sarangi share similarities with the Sarinda. Sikh Guru Arjan Dev ji introduced and popularized the Sarinda in Sikh devotional music.

Sarangi details

Esraj




Dilruba

Algoza - double flute 

Taus

The taus, initially recognized as the Mayuri Veena, is a stringed instrument played with a bow, originating from North India. It takes the shape of a veena and features a peacock-shaped resonator known as a mayuri. The instrument is played with the neck placed horizontally.

In the court of Guru Gobind Singh ji, various instruments were played to accompany the devotional music and martial performances. 

A painting showing Guru Gobind Singh playing on Taos

Some of the instruments played during that time included the rabab, which is a string instrument, the sarangi, a traditional bowed instrument, the jori and sarinda, both percussion instruments, and the algoza, a double-flute. These instruments contributed to the rich musical and cultural environment of Guru Gobind Singh's court, enhancing both the spiritual and martial aspects of Sikh tradition.

A brand new Dilruba decorating our Living room.

Special Dilruba Model for Gobind Singh

In view of above, Shivpreet has urged Gobind to learn Dilruba for accompanying him on Gurbani Kirtan in future.  We have already got one shipped from Ludhiana in Punjab. Gobind presently is practicing and under training with Dr Gurpreet Singh an expert in Dilruba playing.