Within it's 1430 pages, the shabads (hymns) of the Sri Guru Granth Sahib are arranged in thirty-one Ragas, the traditional Indian musical measures and scales. Within the Ragas, they are arranged by order of the Sikh Gurus, with the shabads of the Hindu and Muslim Saints following. The shabads are written in various meters and rhythms, and are organized accordingly. For instance, Ashtapadi - eight steps, or Panch-padi - five steps. The Sri Guru Granth Sahib is written in Gurmukhi script, but the shabads were written in many different languages including Punjabi, Sanskrit and Persian.
The original bir of Guru Granth Sahib did not contain an index. However, this is provided in some modern print of the bir to make it easy to find the location of some of the common banis. For example, from the index, (see main article here) it can be seen that the Japji Sahib starts at page 1 and ends at page 8; Sukhmani Sahib is located from pages 262 to 296; the Bara Maha bani can is found at pages 133 to 136; The bani called Anand Sahib(Bliss) can be found at pages 917 to 922, etc.
The Beginning
The Guru Granth Sahib begins with the word "Ek Onkar" – The All Pervading Being. From this Word to the tenth Word “Gur-parshad” is called the Mool Mantra. After this is the rest of the composition called the Japji composed by Guru Nanak Dev. This comprises 38 Pauris or stanzas, a Prologue and an Epilogue. This is one of the morning prayer of the Sikhs.
The next composition has two parts - (1) "So Dar" and (2) "So Purkh". The Bani, "So Dar" contains 5 Shabads and "So Purkh" contains 4 Shabads. This form most of the evening prayer of the Sikhs and is called the Rehras. After this is the Bani called Sohila (full name, Kirtan Sohila), which contains 5 Shabads and is the bed-time prayer.
The 31 Ragas
The Adi Granth starts with the a non-raga section which begins with Japji as the first entry followed by Rehras and ending with Kirtan Sohila. Then begins the main section consisting of 31 Ragas or chapters. A raga is a musical structure or set of rules of how to build a melody. It specifies a scale, as well as rules for movements up and down the scale; which notes should figure more and which notes should be used more sparingly; etc. The result is a framework that can be used to compose or improvise melodies in, so that melodies in a certain raga will always be recognisable yet allowing endless variation.
Just as a raga has emotional overtone, so each chapter has spiritual implication. The thirty-one ragas appear in the following serial order: Sri raga, Manjh, Gauri, Asa, Gujri, Devagandhari, Bihagara, Wadahans, Sorath, Dhanasri, Jaitsri, Todi, Bairari, Tilang, Suhi, Bilaval, Gond (Gaund), Ramkali, Nut-Narayan, Mali-Gaura, Maru, Tukhar, Kedara, Bhairav (Bhairo), Basant, Sarang, Malar, Kanra, Kalyan, Prabhati and Jaijawanti.
Within the 1430 pages are found Saloks of Bhagat Kabir, Sheikh Farid, Guru Tegh Bahadur, etc.
Closing section
The Main section which consists of 31 chapters forming the the Raga section is followed by a brief closing section. This is composed of the Mundavani (The Closing Seal), a salok by Guru Arjan and the final composition of the SGGS, which is the Ragamala
