provided it is lower than the palki (seat) of Guru Granth Sahab. This is done to enable the ragis and the congregation to have full view of one another.
(3) In the morning, kirtan of entire Asa-do-var (24 chhants, salokas and pauris) is completed. The singing of Asa-di-var is not to be interrupted by katha (exposition of a random hymn read from the Scripture) or lecture.
(4) Appropriate compositions of Gurbani are sung at certain functions. For example at the time of Anand Karaj (Sikh Wedding) Lavan, Anand and suitable shabads ar sung. At the funeral of a Sikh, appropriate shabads relating to death are sung. Kirtan Sohila is recited before cremating the dead body.
(5) Every hymn should be sung in the indicated raga and tala. The singer should use the appropriate laya, tan and palta. However, he must not forget the rasa and the appropriate ethos, mood and spirit of the hymn.
(6) Vars should be sung as indicated in the Scripture. For example Gauri var should be sung in Gauri raga, Ramkali var in Ramkali raga, with appropriate dhuni if indicated.
(7) Display of musical skill and excess of alaap and tan are not permitted, as they tend to make the minds of singers and listeners mercurial and unstable.
(8) Correct pronunciation and intonation of Gurbani is essential so that the audience may understand the wording and the meaning of the hymn. The singer is not supposed to introduce any words of his own or make interpolations in Gurbani [1]. The use of extra words like ha, ji, wahwah, piyara, etc., is against the spirit of Gurmat.
(9) The raga-technique and the sounds of instruments are subordinated to the singing of the hymn. What is brought out prominently by the musician is the Gurbani and its rasa, and not the musical expertise. Parallel quotations (parmans) to illustrate the theme are permitted during the kirtan.
(10). Any hymn which has been commenced should be completed. Lack of time is no reason for stopping the singing of a hymn in between.
(11) No kirtan is permitted during Akhand Path (continuous reading of the Scripture).
(12) The listeners should not make offerings (donations) to the musicians while the kirtan is in progress. Offerings can be made at the end of the kirtan. The best way is one followed by Sufi Congregations, where the listeners make the offerings to the president of the function or the organiser who respectfully hands over the collections to the leader of the music-group at the conclusion of the function. No ragi should interrupt his kirtan to acknowledge a donation or offering, not should he mention the name of the donor. He should make a collective acknowledgement of the offerings at the end of the kirtan. This procedure is in accordance with Resolution No. 5 dated 2nd January 1976 of the Kirtan Sub-Committee of the Shromani Gurdwara Parbandhak Committee, Amritsar. In any case, interruption of kirtan to praise a donor of office-bearer of the Gurdwara or a distinguished visitor by name is absolutely forbidden, as it is against Gurmat (Guru's instructions).


Qualifications of Kirtaniyas

Like any other profession, there should be some minimum qualifications for a kirtaniya (performer of kirtan). It has been observed recently that singers who know a few ragas and shabads call themselves ragis and begin to exploit the Sikhs' devotion to kirtan. Knowledge and practice of kirtan is a lifelong education and requires total sadhana and sincerity.

(1) The prospective singer should join a school of music or class of kirtan or take a recognised course or training from an expert musician for a number of years in the alert and technique of Hindustani classical music. He must train his voice and make it sweet and acquire proficiency in raga and tal.
(2) He should memorise Gurbani and also know its meaning and relevance.
(3) He must learn the traditional Shabad-ritan (modes of singing) from experts.
(4) He should practise the singing of dhrupad, khayal, vardhunis and partal.
(5) He must have full knowledge of musical instruments and should specialise in playing on at lealst one instrument.
(6) He must study the Sikh Scripture and acquire mastery over Sikh history and Gurmut-philosophy. He should also be in a position to give exposition of any hymn which he sings and be able to discourse on Sikh tenets and lives and objectives of the Gurus.
(7) He should not make a vain display of his instrumental craftsmanship or voice-gymnastics.

provided it is lower than the palki (seat) of Guru Granth Sahab. This is done to enable the ragis and the congregation to have full view of one another.
(3) In the morning, kirtan of entire Asa-do-var (24 chhants, salokas and pauris) is completed. The singing of Asa-di-var is not to be interrupted by katha (exposition of a random hymn read from the Scripture) or lecture.
(4) Appropriate compositions of Gurbani are sung at certain functions. For example at the time of Anand Karaj (Sikh Wedding) Lavan, Anand and suitable shabads ar sung. At the funeral of a Sikh, appropriate shabads relating to death are sung. Kirtan Sohila is recited before cremating the dead body.
(5) Every hymn should be sung in the indicated raga and tala. The singer should use the appropriate laya, tan and palta. However, he must not forget the rasa and the appropriate ethos, mood and spirit of the hymn.
(6) Vars should be sung as indicated in the Scripture. For example Gauri var should be sung in Gauri raga, Ramkali var in Ramkali raga, with appropriate dhuni if indicated.
(7) Display of musical skill and excess of alaap and tan are not permitted, as they tend to make the minds of singers and listeners mercurial and unstable.
(8) Correct pronunciation and intonation of Gurbani is essential so that the audience may understand the wording and the meaning of the hymn. The singer is not supposed to introduce any words of his own or make interpolations in Gurbani [1]. The use of extra words like ha, ji, wahwah, piyara, etc., is against the spirit of Gurmat.
(9) The raga-technique and the sounds of instruments are subordinated to the singing of the hymn. What is brought out prominently by the musician is the Gurbani and its rasa, and not the musical expertise. Parallel quotations (parmans) to illustrate the theme are permitted during the kirtan.
(10). Any hymn which has been commenced should be completed. Lack of time is no reason for stopping the singing of a hymn in between.
(11) No kirtan is permitted during Akhand Path (continuous reading of the Scripture).
(12) The listeners should not make offerings (donations) to the musicians while the kirtan is in progress. Offerings can be made at the end of the kirtan. The best way is one followed by Sufi Congregations, where the listeners make the offerings to the president of the function or the organiser who respectfully hands over the collections to the leader of the music-group at the conclusion of the function. No ragi should interrupt his kirtan to acknowledge a donation or offering, not should he mention the name of the donor. He should make a collective acknowledgement of the offerings at the end of the kirtan. This procedure is in accordance with Resolution No. 5 dated 2nd January 1976 of the Kirtan Sub-Committee of the Shromani Gurdwara Parbandhak Committee, Amritsar. In any case, interruption of kirtan to praise a donor of office-bearer of the Gurdwara or a distinguished visitor by name is absolutely forbidden, as it is against Gurmat (Guru's instructions).


Qualifications of Kirtaniyas

Like any other profession, there should be some minimum qualifications for a kirtaniya (performer of kirtan). It has been observed recently that singers who know a few ragas and shabads call themselves ragis and begin to exploit the Sikhs' devotion to kirtan. Knowledge and practice of kirtan is a lifelong education and requires total sadhana and sincerity.

(1) The prospective singer should join a school of music or class of kirtan or take a recognised course or training from an expert musician for a number of years in the alert and technique of Hindustani classical music. He must train his voice and make it sweet and acquire proficiency in raga and tal.
(2) He should memorise Gurbani and also know its meaning and relevance.
(3) He must learn the traditional Shabad-ritan (modes of singing) from experts.
(4) He should practise the singing of dhrupad, khayal, vardhunis and partal.
(5) He must have full knowledge of musical instruments and should specialise in playing on at lealst one instrument.
(6) He must study the Sikh Scripture and acquire mastery over Sikh history and Gurmut-philosophy. He should also be in a position to give exposition of any hymn which he sings and be able to discourse on Sikh tenets and lives and objectives of the Gurus.
(7) He should not make a vain display of his instrumental craftsmanship or voice-gymnastics.