The Bani or the Divine Word has been recognized as ‘Shabad Guru’  in the form of Sri Guru Granth Sahib , . In Sikh religion, 'Shabad Guru' (Shabad)¹, Sri Guru Granth Sahib is the basic / fundamental source of spiritual knowledge, and Shabad Kirtan² is main medium of devotion in the religion. Right from the times of Guru Nanak Dev ji, Shabad Kirtan has been an inseparable part of Sikh code of conduct.

          The Sikh Gurus have defined the prescribed Shabad Kirtan tradition which is evident from the music tenants laid down in Sri Guru Granth Sahib known as elements of ‘Gurmat Sangeet’³ A particular methodology had been devised with the help of symbols and headings like Raag,⁴Rahao,⁵ Ank⁶ etc for musical composition and presentation of Shabad Kirtan in special singing styles. In Sikh tradition, every Hymn singer is bound to follow the prescribed methodology for the presentation of Shabad Kirtan.

          In order to strengthen the significance of Shabad Kirtan in practical life, an organized presentation of Shabad Kirtan in one continuous session has been recognized as ‘Kirtan Chauki.’

          As per the dictionary of Gurmat Sangeet Technical Terminology, published by Punjabi university, Patiala, a complete presentation of Shabad Kirtan is known as Kirtan Chauki. The following are the four parts of Shabad Kirtan Chauki :

          In Gurmat Sangeet, the first part of Shabad Kirtan Chauki⁸ in which an instrumental recital of the raga is presented before the vocal presentation of the Shabad, is called Shaan.In this, the instrumentalist displays his artistic skills. The significance of this part is that it gives an indication to the audience about the beginning of the Kirtan; and the musical atmosphere created by Shaan brings about serenity among the audience. In Raga Asa, Shaan has the following form, while played on the Gurmat Sangeet instruments.

Manglacharan⁹
          In Gurmat Sangeet Maglacharan is the second part of Kirtan Chauki, which is sung in Vilambit Laia.  In this part of the Kirtan Chauki, God Almighty and the Gurus are invoked with the recital of Holy Verses in various Theka (rhythmic patterns) like Ek-taal¹⁰, Chaar-taal¹¹,  Ara Chautaal¹²   etc. Maglacharan in Raaga Aasa is as follows:

Shabad (Shabad Gayan) or Raga based Singing of the Divine Hymn
          In the third part of the Chauki, after Maglacharan, the vocal presentation of the Hymn takes place. In this part, the Raaga based recital of the hymn in different classical styles of singing like Dharupad Ang,¹³Partaal¹⁴ and other classical styles, the Shabad is presented in the Rit and Folk music style.

Paurhi (Paurhi Laona or Paurhi Gayan)
          According to the technical terminology prescribed by Gurmat Sangeet, Paurhi laona means presentation of the Paurhi.¹⁵ In the part of Kirtan Chauki, out of the Vaars¹⁶ or folk poetic verses registered in Guru Granth Sahib, the vocal presentation of Paurhi composition in four beats Paurhi taal¹⁷ of Jorhi¹⁸ (Precussion). After the presentation of the Paurhi, the table player recites the verse of the Paurhi in Alap¹⁹ in non-rhythmic presentation or composition of music. Presentation of one popular Paurhi is like this:

          As Gurmat Sangeet is the prescribed music tradition of Sikh religion, different Shabad Kirtan Chaukis are being popularized, for example – Aasa di Vaar di Kirtan Chauki, ²⁰ Sodar di Kirtan Chauki,²¹Basant di Kirtan Chauki, Anand Karaj di kirtan Chauki²² etc. These Chaukis have their own distinct styles and structures. Thus we can say that the presentation of Shabad Kirtan is based on the well-established music tenants of the Gurmat Sangeet tradition, laid down by the Sikh Gurus.