In year 1933 at District Hoshiarpur, Giani Darshan Singh Sohal Ji was born into a family sensitised to the charm of Indian Classical Music. Music was first introduced into the family by his grandfather, Sant Karam Singh. Giani Ji’s father, Sant Surain Singh, who was a highly regarded scholar of the ‘Vedas’ and Gurbani, carried on the tradition and became a disciple of the Gurbani Kirtan legend Bhai Samund Singh from whom he learnt both Kirtan and Mridang.

Giani Darshan Singh Sohal Ji’s own musical training commenced at a very early age under the instruction of his uncle Sardar Chanchal Singh, who was a student of the Lucknow School of Music. Later, Giani Darshan Singh was graced by the great Shri Almast ji who elevated him to a more profound and spiritual realm of music.

Shri Almast ji belonged to the most authentic Indian traditional school of classical music – ‘Gawalior Ghrana.’ He held Giani Ji in very high esteem and referred to him as his favourite disciple. Over a period of 17 years, Sri Almast Ji bestowed upon Giani Ji a great treasure of music full of exquisite and peerless compositions bursting with lucid and ageless expression.

Giani Darshan Singh Sohal ji has trained and taught kirtan to 3 generations from various countries of the world. He has bestowed this privilege upon many none-Sikhs also. Many of his students reared maestros in too young age. So Giyani ji is not only an artist of consummate skill, he reveals supreme mastery in methodical imparting of musical skills.

He uses different methods to teach to different student categories based on age and level of acquired skill. And many of his high success oriented students feel pride to use his well established methods further to teach their own students.

Giani Ji is quite famous in composing music. His compositions are quite rich in delighting senses for spatial property resulting from well experienced arrangement of melody parts and percussion in relation to each other and to the whole. His compositions abide by all the raga rules of classical music but launches penetrations to the hearts of all laymen to the music terminology and well as to the pundits of the music field.

A great secret behind his great success compositions is his poetical skills. In his young age he wrote many deep poems. All of them were well appreciated by the audience. So he understands the meters of the poetry well, and his this authoritative ability over composing poetry has been proved very boosting to contribute to his progress in producing extraordinarily good and great kirtan compositions.

Giani Darshan Singh Sohal Ji writes well. He is a great author in the domain of Indian Classical Music and Kirtan. He writes simple but effective. He expresses very tough concepts of music using simple vocabulary to invade obscurity of the subject. So he has produced good solutions in some problem domain of music subject by writing very crystal clear approach books well published by Harjit Publications.

In nutshell Giani Ji is a great Music Artist, Kirtankar, Poet, an Excellent Author, Gurbani and Indian Classical Music Scholar. Giani Darshan Singh Sohal Ji is an institution all by himself, the like of which may seldom repeat.

Giani Darshan Singh Sohal     ਪੰਥ ਰਤਨ ਗਿਆਨੀ ਦਰਸ਼ਨ ਸਿੰਘ ਸੋਹਲ is a post from: Gianidarshansinghsohaluk

Mr Surinder Singh Jass

Mr Surinder Singh Jass has aquired a deep knowlege of practical and theoretical Indian Classical Music. Melody is his strong section, so he associates Giani Darshan Singh sohal in the melody part of Devotional Music said as Kirtan. He is having a definite quick general conscious awareness toward discriminating the ingrediants of a good music characterized by an appreciation of beauty or good taste.

The rest of the page is under construction.

Meet Giani Ji’s Group Companions! is a post from: Gianidarshansinghsohaluk

Gursharan Singh Mand

S. Gursharan Singh Mand took basic as well advanced training of Kirtan from a great Maestro Giani Darshan Singh Sohal systematically. He also learned Tabla from Giani Ji’s son and won the Haraballabh Festival ( a testimonial greatest festival of Indian Classical Music) in Tabla in his childhood.

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Mani Singh Bitu

Mani Singh Bitu learned kirtan from Maestro Giani Darshan Singh Ji Sohal. He was already knowing some Tabla when he came in contact with Giani Ji. Occasionally he accompanied Giani’s performances with tabla, and super level of melody and advanced structure of Giani Ji’s singing style aroused in him a desire to learn the tabla of advanced stage. To fulfil his this desire he learned advanced Tabla from Maestro of Maestro’s i.e. Giani Ji’s youngest son Sh. Davinder Singh (famous as Vikhyat), and the training was so exponential that he did attain the level of a maestro which resulted in his internationals triumphs.

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Jasbir Sasson

Jasbir Sasson is one of the most brilliant students of Giani Darshan Singh Sohal. Her traditional training has gone long enough under a rare maestro Giani Ji, which resulted in her maturity in classical music and its applictation to Devotional Music. She has learnt and paractised almost all the famous raags and taals and gained the appreciation from her audience including well ripened musicians. _______________________________________________________________________________________________________________________________________

Amrit Kaur Mand

Amrit Kaur Mand has learned more than twenty raags and various styles of music from Giani Ji. She is an excellent vocalist having charming voice and good sense of improvisations.

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Manjit Kaur Sehra

Bibi Manjit Kaur Sehra got basics as well as advanced music training from rigrous teacher Giani Darshan Singh Sohal. And she followed the same style of teaching to teach her own students. Her and her student’s style of kirtan is really an example.

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Harjit Kaur

Bibi Harjit Kaur has become a virtuoso in the field of classical Kirtan under the guidance of a great Kirtan Maestro Giani Darshan Singh Sohal. She has good command over many tough raagas and talas. She is a succesful performer and instructor so is following Giani Ji well.

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Kamaljit Singh Chadha

Mr. Kamaljit Singh Chadha learned the music from Giani Ji and was able to produce his cassete of Kirtan named as ‘Paya Laalu Rattanu Mani’. He is a great Yogi and Yoga Master and has given his wonderful recordings on Yoga.

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Bibi Neelam Kaur Chadha

Bibi Neelam Kaur Chadha has natural talent for music and has become a good singer under Giani Darshan Singh Sohal’s guidance. She has toured a lot and shown her skill in kirtan many where.

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Manbir Singh

S. Manbir Singh has learned music from Sohal Ji. He is a very nice singer and Tabla Player. He has good command over many tough taalas.

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Jasmeet Kaur

Jasmeet Kaur a very sharp mind, so she has learned a lot of tough Classical Kirtan from Kirtan Maestro Giani Darshan Singh Sohal. In her small age a deep digging in raagas and taalas is quite ovbious. Future has really promised her an abundance of.

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Manmohan Singh

S. Manmohan Singh has good knowledge of Classical Music. He is in touch with Giani Ji for further enhancement of theory and practice of Indian Classical Music applied to Kirtan. He is a mature percussionist.

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Virender Choudhry

Mr. Virender Choudhry is one of famous and well learned deciples of Panth Rattan Kirtan Maestro Giani Darshan Singh Sohal. He spent a good part of his age in learning Classical Kirtan from Giani Ji, so his mature style of music performance reflects it.

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Vinita Choudhry

Miss Vinita Choudhry really keeps a  sharp mind, so she has been successful to learn Classical Kirtan from Kirtan Maestro Giani Darshan Singh Sohal. She has digged deep many Raagas and Taalas. A great audience of her is proud of her sweet voice.

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Hitesh Choudhry

Mr. Hitesh Choudhry is having a nice knowledge of Indian Classical Music. He has learned all this from famous Maestro Giani Darshan Singh Sohal. He has gone from basics to advanced Indian classical music under the supervision of Giani Ji.

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Let’s Meet Some Sohal Ji’s Students! is a post from: Gianidarshansinghsohaluk

This Gurbani Raag-Kosh has been formed by combining the extracts from Giani Darshan Singh Sohal Ji’s ‘Raag Kosh’ comrising thousands of well detailed ‘Raag’ enteries and can be said world’s largest raag kosh. This ‘Gurbani Raag Kosh’ embraces all the relevant facts concerning the form, sense and taste of the raagas (and their variants) of Sri Guru Granth Sahib, whether current at the moment, or obsolete, or archaic.

CONTENTS

1. ਆਸਾ Aasa, 2. ਆਸਾ ਕਾਫੀ Aasa Kaafi , 3. ਆਸਾਵਰੀ (ਸ਼ੁਧ ਰਿਸ਼ਵ ) Asaavari (shuddh rishav), 4. ਆਸਾਵਰੀ (ਕੋਮਲ ਰਿਸ਼ਵ ) Asaavari (komal rishav) , 5. ਸਾਰੰਗ ( ਬ੍ਰਿੰਦਾਬਨੀ) Saarang (Brindaavani), 6. ਸਿਰੀ ( ਪੂਰਵੀ ਥਾਟ ) Siree (poorvi that), 7. ਸਿਰੀ (ਕਾਫੀ ਥਾਟ) Siree (kaafi that), 8. ਸੂਹੀ (ਕਾਫੀ ਥਾਟ) Soohi (kaafi thaat), 9. ਸੂਹੀ (ਬਿਲਾਵਲ ਥਾਟ) Soohi (bilaawal thaat), 10. ਸੂਹੀ (ਖਮਾਜ ਥਾਟ) Soohi (khamaaj thaat), 11. ਸੂਹੀ ਕਾਫੀ Soohi Kaafi , 12. ਸੂਹੀ ਲਲਿਤ Soohi Lalit , 13. ਕਲਿਆਨ Kalyan , 14. ਕਲਿਆਨ ਭੋਪਾਲੀ Kalyan Bhopali , 15. ਕਾਨੜਾ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Kaanrha (1st form) , 16. ਕਾਨੜਾ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Kaanrha (2nd form), 17. ਕਾਨੜਾ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Kaanrha (3rd form), 18. ਕੇਦਾਰਾ Kedaara , 19. ਗਉੜੀ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gaurhi (1st form), 20. ਗਉੜੀ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gaurhi (2nd Form), 21. ਗਉੜੀ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Gaurhi (3rd Form), 22. ਗਉੜੀ (ਚੌਥਾ ਪ੍ਰਕਾਰ) Gaurhi (4th form), 23. ਗਉੜੀ (ਪੰਜਵਾਂ ਪ੍ਰਕਾਰ) Gaurhi (5th form), 24. ਗਉੜੀ ਸੋਰਠਿ Gaurhi Sorth, 25. ਗਉੜੀ ਗੁਆਰੇਰੀ Gaurhi Guareri , 26. ਗਉੜੀ ਚੇਤੀ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gaurhi Cheti (1st form), 27. ਗਉੜੀ ਚੇਤੀ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gaurhi Cheti (2nd form), 28. ਗਉੜੀ ਚੇਤੀ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Gaurhi Cheti (3rd form), 29. ਗਉੜੀ ਦਖਣੀ Gaurhi Dakhani , 30. ਗਉੜੀ ਦੀਪਕੀ Gaurhi Deepki , 31. ਗਉੜੀ ਪੂਰਬੀ Gaurhi Poorbi, 32. ਗਉੜੀ ਪੂਰਬੀ ਦੀਪਕੀ Gaurhi Poorbi Deepki , 33. ਗਉੜੀ ਬੈਰਾਗਣਿ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gaurhi Beraagn (1st form), 34. ਗਉੜੀ ਬੈਰਾਗਣਿ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gaurhi Beraagn (2nd form), 35. ਗਉੜੀ ਮਾਝ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gaurhi Majh (1st form), 36. ਗਉੜੀ ਮਾਝ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gauri Maajh (2nd form) , 37. ਗਉੜੀ ਮਾਝ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Gaurhi Maajh (3rd form), 38. ਗਉੜੀ ਮਾਲਾ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gaurhi Maala (1st form), 39. ਗਉੜੀ ਮਾਲਾ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gaurhi Maala (2nd form), 40. ਗਉੜੀ ਮਾਲਵਾ Gaurhi Maalwa , 41. ਗੂਜਰੀ Goojri , 42. ਗੋਂਡ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Gond (1st form) , 43. ਗੋਂਡ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Gond (2nd form), 44. ਗੋਂਡ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Gond (3rd form), 45. ਜੈਜਾਵੰਤੀ Jaijaavanti, 46. ਜੈਤਸਰੀ Jaitsari , 47. ਟੋਡੀ Todee, 48. ਤਿਲੰਗ Tilang, 49. ਤਿਲੰਗ ਕਾਫੀ Tilang Kaafi , 50. ਤੁਖਾਰੀ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Tukhaari (1st form) , 51. ਤੁਖਾਰੀ (ਦੂਜਾ ਪ੍ਰਕਾਰ) Tukhaari (2nd form), 52. ਤੁਖਾਰੀ (ਤੀਜਾ ਪ੍ਰਕਾਰ) Tukhaari (3rd form) , 53. ਦੇਵ ਗੰਧਾਰੀ Dev Gandhaari , 54. ਦੇਵ ਗੰਧਾਰ Dev Gandhaar, 55. ਧਨਾਸਰੀ (ਕਾਫੀ ਥਾਟ) Dhanaasari (kaafi that), 56. ਧਨਾਸਰੀ (ਭੈਰਵੀ ਥਾਟ) Dhanaasari (bhairivi thaat), 57. ਨਟ Nat , 58. ਨਟ ਨਾਰਾਇਣ Nat Naraain, 59. ਪ੍ਰਭਾਤੀ Prbhaati, 60. ਪ੍ਰਭਾਤੀ ਬਿਭਾਸ Prbhaati Bibhaas, 61. ਪ੍ਰਭਾਤੀ ਦਖਣੀ Prbhaati Dakhani , 62. ਬਸੰਤ Basant , 63. ਬਸੰਤ ਹਿੰਡੋਲ Basant Hindol , 64. ਬਿਹਾਗੜਾ Bihaagrha , 65. ਬਿਭਾਸ (ਭੈਰਵ ਥਾਟ ) Bibhaas (bhairv thaat) , 66. ਬਿਭਾਸ (ਮਾਰਵਾ ਥਾਟ ) Bibhaas (maarva thaat), 67. ਬਿਭਾਸ ਪ੍ਰਭਾਤੀ Bibhaas Prbhaati , 68. ਬਿਲਾਵਲ ਗੋਂਡ Bilaawal Gond, 69. ਬਿਲਾਵਲ ਦਖਣੀ Bilaawal Dakhani , 70. ਬਿਲਾਵਲ ਮੰਗਲ Bilaawal Mangal , 71. ਬੈਰਾੜੀ Bairaarhi , 72. ਭੈਰਵ Bhairav , 73. ਮਲਾਰ (ਬਿਲਾਵਲ ਥਾਟ) Malaar (bilaawal that), 74. ਮਲਾਰ (ਕਾਫੀ ਥਾਟ) Malaar (kaafi that),

75. ਮਾਝ (ਕਾਫੀ ਅੰਗ) Maajh (kaafi ang)

76. ਮਾਝ (ਬਿਲਾਵਲ ਅੰਗ) Maajh (bilaawal ang) , 77. ਮਾਝ ( ਖਮਾਜ ) Maajh (khamaaj ang), 78. ਮਾਰੂ (ਪਹਿਲਾ ਪ੍ਰਕਾਰ) Maaru (1st form) , 79. ਮਾਰੂ (ਦੂਜਾ ਪ੍ਰਕਾਰ), Maaru (2nd form) , 80. ਮਾਰੂ (ਤੀਜਾ ਪ੍ਰਕਾਰ), Maaru (3rd form), 81. ਮਾਰੂ ਕਾਫੀ Maaru Kaafi , 82. ਮਾਰੂ ਦਖਣੀ Maaru Dakhni , 83. ਮਾਲੀ ਗਉੜਾ Maali Gaurha , 84. ਰਾਮਕਲੀ Raamkali , 85. ਰਾਮਕਲੀ ਆਨੰਦ Raamkali Anand , 86. ਰਾਮਕਲੀ ਦਖਣੀ Raamkali Dakhni , 87. ਲਲਿਤ Lalit , 88. ਵਡਹੰਸ Vadhans , 89. ਵਡਹੰਸ ਦਖਣੀ Vadhans Dakhni

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NOTATION:

Following system of symbols is used to represent the surs (musical notes) in three Saptiks.

S* R¹* R* G¹* G* M* M¹* P* D¹* D* N¹* N* S R¹ R G¹ G M M¹ P D¹ D N¹ N Sº R¹º Rº G¹º Gº Mº M¹º Pº D¹º Dº N¹º Nº

Mandir Saptik – S* R¹* R* G¹* G* M* M¹* P* D¹* D* N¹* N*

Madh Saptik – S R¹ R G¹ G M M¹ P D¹ D N¹ N

Taar Saptik – Sº R¹º Rº G¹º Gº Mº M¹º Pº D¹º Dº N¹º Nº

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