I first heard the tune from Ragi Kalyan Singh Ji, singing the Shabad “Kaval Nain Madhur Bain”

Tried a recording a folksy type tune. I still need to work out how to get the drums to loop correctly. I’ll get better at this soon.

I hope you find it pleasant to listen to.

And here’s me trying to play it.
(Mp3 download)

The version below seems to be the ‘first’ version.

Rohanpreet Singh - TuThakurTumPeiArdaas KaheReBanKhojanJaaee (11957)
Rohanpreet Singh - Tu Prabh Data Daan Mat Poora (585)
Rohanpreet Singh - Dithe Sabhe Thaav (584)

You don’t really get an idea of how good his voice is because of the distorted sound in the recordings. The speakers in the Darbar Hall were too loud, and my recorder is too sensitive.
I’ve uploaded one file from the practice session as well so you get a clearer idea of how well he sings. Please note that it’s a very informal session that just happened to be recorded. Bhulla Chuka and Interruptions Di Maaf Karna
Rohanpreet Singh - Practice Session 1 (2602)
Rohanpreet Singh - Practice session - 2 (500)

Right click the links and choose “SAVE AS” to download to your computer.

I wish God blesses him with fantastic success in his music career, and I hope he continues to happily do Kirtan Seva like he does now.

Raag Malkauns – heard from Ustad Bismillah Khan.
This same tune is often heard on “Wedding Shehnai” type Cds – (most likely played by Ustad Bismillah Khansahib as well).

Gurmit Singh Shant - GhanGarjatGobindRoop - Malhar - 12 (926)
Gurmit Singh Shant - NanakBijuliyaChamkan - MeghMalhar - 16 (868)
Gurmit Singh Shant - SanakSanandMaheshSamana - Dhanasri - 11 (679)
Gurmit Singh Shant - NarayanNindasKaheBhooliGavaree - Bhimpalasi - 16 (762)
Gurmit Singh Shant - TuKunRey MaiJeeNama - Bhairavi - 16 (617)

to download – Right click the link(s) below and choose the option to ‘SAVE AS’

File 1: 2 Shabads.
#1 Semi-Light Raag – I don’t know what it’s called.
#2 Raag Malhar
Gurmit Singh Shant - 15 Aug 2010 - 1 (1015)

File 2: Raag Asa
Gurmit Singh Shant - 15 Aug 2010 - 2 (890)

update:
2 more files from 22nd August 2010
There are Shabads in Raag Bilaval, Raag Vadhans, and more.
Gurmit Singh Shant - 22 Aug 2010 - 1 (800)
Gurmit Singh Shant - 22 Aug 2010 - 2 (546)
I could barely keep up with him – but really enjoyed the attempt. Bhai Sahib sang beautifully.

update:
New Recording from 29 August 2010. Raag Bilaval , Raag Soohi.
Bhai Sahib used a Surmandal instead of his vaja – the overall effect is much nicer if you compare it with the previous recordings.
Gurmit Singh Shant - 29 Aug 2010 (588)

Lets learn Raag Yaman / Raag Kalyan by lisening to some recordings, keeping our ears tuned, and picking out patterns.

Practicality
As far as I’m aware , the Esraj is not directly linked to Sikh history.
It could be called a sitar-saranda hybrid, or a dilruba-saranda hybrid. I couldn’t tell you because I don’t know what came first.
I like it because my Esraj is easier to play than my Dilruba. I get better sound from it. That’s it.

Being able to create a nice meditative atmosphere during Kirtan is slightly more important to me than the historical authenticity of the instruments being played. Unless the particular event is a historical showcase.

Ideally – the instruments played in a program should be historically authentic in terms of their link to Sikh history and played well. But If I have to choose one over the other, I would choose a non authentic instrument that is played well.
The Bani and your state of mind matter most.

Harmoniums
The harmonium will slow down your progress as a singer if you get too attached to using it.

As far as I’m aware it has no real place in Sikh History either. It is a european invention that came to India not too long ago.

I like harmoniums that have a heavy bass type sound. They’re nice as support to fill out the lower frequencies.
Ideally, the volume on harmoniums should be low, almost like a drone that occasionally supports the melody.

Some Ragi Jathas get too excited with their harmoniums and play too loud, all the time.
They have to be sure to project their voice even louder than their harmonium. If they can’t, then their voices get drowned out. Either way, it gets annoying quite quickly.

Take Turns
Instrumentalists and vocalist should take turns, as if the session is a duet so the Sangat can get involved and sing along.
Also
To the audience/Sangat – everything becomes a monotonous drone if it’s repeated the same way too many times.
My dad pointed this out to me – and asked me to listen to different recordings to confirm whether it makes sense or not – I did ; it does.
Variety is a good thing. It keeps people’s attention.
Take breaks, take turns.

Alaaps & Filler Tunes
I think these are great.
If it’s a Kirtan session, I prefer that the vocalist does Parmaans instead of alaaps. I hope I have the correct word. It’s where they recite a few lines from different Shabads that address the same topic as the one they’re singing.
Long “AaaaaaAAAaaaaAAAAAAaaaAaa” type alaaps are distracting, unless it’s a purely musical event. Short ones are ok.
Parmaans are so much better because you get the same contemplative type mood as an alaap, but you have the infinite Substance of Gurbani to back it up.

This is just my Opinon, so there’s no right or wrong here. You’re very welcome to have a different viewpoint.