Raga Group based on Time

Ragas have a time-based classification. Although many these days do not strictly adhere to this tradition, it is often a matter of habit that certain ragas feel more comforting when heard at their prescribed times. However, this does not mean that a raga can only be sung or listened to within that specific timeframe. Rather, it indicates that the raga was composed to evoke the essence of that particular time or that it simply feels more pleasing when experienced during those hours.

Let’s take a look at the theoretical side. The concept of time in Hindustani classical music, known as the “Samay Siddhanta” or the “Raga Time Cycle,” is a fundamental principle that associates specific ragas with particular times of the day, night, and sometimes even seasons. This theory strongly believes that a raga, when performed at its designated time, enhances its emotional impact (rasa) and creates a profound aesthetic experience for both the artist and the listener.

Key Aspects of the Time Theory:

1. Division of the Day:
Ancient Indian musicologists divided the 24-hour day into eight “praharas” (approximately three-hour periods), each influenced by the position of the sun and associated with different moods and atmospheric qualities. Pandit Vishnu Narayan Bhatkhande further elaborated this division, assigning specific ragas to these praharas based on their sonic characteristics.

2. Ragas and Their Designated Times:
Ragas are traditionally classified based on the time they are meant to be performed. This classification is based on several factors:

• Vadi and Samvadi Notes: The primary (vadi) and secondary (samvadi) notes of a raga often correspond to the time of day.

• Dominant Notes: Emphasis on certain notes (shuddha, komal, or teevra) within a raga can indicate a specific time. For instance, ragas with komal re and dha are often associated with early morning and evening (sandhiprakash ragas).

• Emotional Character (Rasa): The mood evoked by a raga often aligns with the prevailing atmosphere of a particular time. Morning ragas tend to be calm and meditative, while evening ragas can be more romantic or devotional.

• Purvanga and Uttaranga Dominance: Some ragas emphasize the lower tetrachord (sa, re, ga, ma – purvanga) while others focus on the upper tetrachord (pa, dha, ni, sa’ – uttaranga), aligning them with different parts of the day.

3. Examples of Time-Raga Connection:

• Morning (Pratahkal): Ragas like Bhairav, Todi, Bilawal (in some cases), and Ahir Bhairav are typically performed in the early morning, reflecting the serenity and awakening of nature.

• Late Morning/Pre-Noon (Madhyahna Purva): Ragas like Jaunpuri, Asavari, and Deshi are often sung during this period.

• Afternoon (Madhyahna Uttar): Ragas like Sarang and Multani are associated with the warm midday.

• Evening/Twilight (Sayankal): Ragas like Shree and Puriya are performed during the transition from day to night, often carrying a reflective or contemplative mood.

• Night (Sandhya/Ratri): Popular evening and night ragas like Yaman, Kedar, Bageshree, and Darbari Kanada evoke feelings of romance, tranquility, or grandeur.

• Late Night (Madhyaratri): Ragas like Malkauns and Yaug are sometimes performed in the deep night, creating a sense of introspection and depth.

4. Season-Based Ragas:
Beyond the daily cycle, certain ragas are traditionally associated with specific seasons. For instance, the Malhar group of ragas is believed to invoke the spirit of the monsoon, while ragas like Basant are associated with the spring, symbolizing joy and renewal.

5. Significance and Modern Relevance:
Historically, strict adherence to the time theory was considered crucial for an accurate and impactful performance. It was believed that performing a raga at the “wrong” time could diminish its effect or even be considered inauspicious.
In the modern era, with the advent of recordings and concerts at various times, this strict adherence has somewhat relaxed. However, many musicians and connoisseurs still believe that performing and listening to a raga at its prescribed time enhances the overall experience and allows the raga’s inherent mood to resonate more deeply with the listener and the environment.

The time theory of Hindustani classical music is a sophisticated framework that connects the melodic and emotional qualities of ragas to the natural cycles of days and seasons, aiming to create a harmonious and profound musical experience. While its strict observance has evolved over time, the underlying principles continue to shape the understanding and appreciation of this rich musical tradition.

 

 

According to the renowned Indian classical music maestro Pandit Jasraj, there are six fundamental ragas and their traditional times of performance are as follows –

Raga Bhairav: A morning raga.
Thaat: Bhairav.
Time of Performance: Early morning.

Raga Deepak: An evening raga.

Raga Shri: An evening raga.

Raga Megh: A raga traditionally sung to invoke rain. It is performed during intense heat waves.

Raga Malkauns: Sung shortly after midnight.
Thaat: Bhairavi.
Time of Performance: Third quarter of the night.

Raga Hindol: Typically performed in the first part of the day.

 

 

As per the guidance of Anil Kumar Saha, the musicologist:

Bilawal: Time – Early morning.
Bihag: Time – Second quarter of the night.
Durga: Time – Second quarter of the night.
Rageshree: Time – Second quarter of the night.
Kalavati: Time – Second quarter of the night.
Khamaj: Time – Second quarter of the night.
Kafi: Time – Midnight.
Brindabani Sarang: Time – Afternoon.
Bageshree: Time – Midnight.
Asavari: Time – Early morning.
Jaunpuri: Time – Early morning.
Darbari Kanada: Time – Midnight.
Bibhasi: Time – Early morning.
Ramkeli: Time – Early morning.
Bhairavi: Can be sung at any time, though it is particularly sung from midnight to noon.
Bilaskhani: Time – Early morning.
Yaman: Time – Early evening (first quarter of the night).
Kedar: Time – Early evening (first quarter of the night).
Bhoopali: Time – Early evening (first quarter of the night).
Marwa: Time – Late afternoon.
Sohini: Time – Late night.
Poorvi: Time – Late afternoon (a twilight raga, sung during the evening sandhi).
Basant: A seasonal raga, sung at any time during the spring season. At other times, it is sung in the late night.
Todi: Time – Late morning (second quarter of the day).
Multani: Time – Late afternoon.
Gurjari: Time – Late morning (second quarter of the day).

Shubhendu Purkayastha Kuara writes:

In the ancient Narada Samhita, the seven fundamental notes are mentioned as Shadja (Sa), Rishabha (Re), Gandhara (Ga), Madhyama (Ma), Panchama (Pa), Dhaivata (Dha), and Nishada (Ni). This text also describes six primary ragas and thirty-six raginis. The classification of “ragas” as masculine and “raginis” as their feminine counterparts was based on their melodic movement and expressive character. In that era, the six foundational ragas were named Bhairav, Malkauns, Hindol, Deepak, Shree, and Megh. Each of these primary ragas had their feminine counterparts, or raginis. For instance, the raga Bhairav had raginis such as Bhairavi, Gunakali, Ramkali, Sindhura, and Gujjari.

From those early days, the tradition of associating ragas and raginis with specific times of day and the natural appeal of the environment was established. For example, Bhairavi was sung in the morning, Sarang (Brindabani Sarang) before noon, Pilu at midday, Multani in the late afternoon, Purvi at dusk, and Behag at night.

Later, as more research and exploration were done on the concept of ragas and raginis, the idea evolved significantly. A more structured approach emerged, establishing a consensus that classical music would primarily be based on ten foundational scales, known as “Thaat Ragas”, which would serve as the foundational ragas from which all other ragas would be derived. Over time, the term “ragini” gradually fell out of use. This transformation was largely influenced by Pandit Vishnu Narayan Bhatkhande of Lucknow, whose pioneering work laid the foundation for the modern system of raga classification in Hindustani classical music.

These ten foundational Thaat Ragas are Bilawal, Kalyan, Khamaj, Kafi, Bhairav, Bhairavi, Asavari, Todi, Purvi, and Marwa. From these ten scales, a wide variety of ragas have emerged. For instance, the Kalyan Thaat has given rise to ragas such as Yaman, Yaman Kalyan, Shyam Kalyan, and Kedar, among others. Similarly, the Kafi Thaat has led to ragas like Jai Jaiwanti, Bageshree, and Rageshree.

Morning ragas include Bhairavi, Asavari, Jaunpuri, Todi, Jogiya, Ramkali, Bhairav, Ahir Bhairav, Nat Bhairav, Bilawal, Lalit, Alhaiya Bilawal, and Bhibhas.

After the morning hours, moving towards midday, ragas like Brindabani Sarang, Shuddha Sarang, and Pilu are often performed.

In the late afternoon, one finds ragas like Bhim Palasi.

As the afternoon transitions into evening, ragas such as Marwa, Shree, and Purvi become prominent.

During the evening, ragas like Yaman, Bhoopali, Puriya Kalyan, Hamir, Shuddha Kalyan, and Yaman Kalyan are performed.

As night deepens, the repertoire includes ragas such as Jai Jaiwanti, Kafi, Malkauns, Kedar, Tilak Kamod, Desh, Yog, Megh, Darbar Kanada, Kaushik Kanada, Chandrakosh, Behag, Maru Behag, Durga, Gorakh Kalyan, Madhumanti, Shivranjani, Hansadhwani, Bahar, Abhogi Kanada, Basanta, Hamsadhwani, Jhinjhoti, Nandakosh, Bageshree, Rageshree, and Kalavati.

Interestingly, there are more ragas for the night than for the day, which is one of the reasons why classical music concerts are often held in the evening or even throughout the night.

While this time-based discipline in raga performance serves as a useful guideline for students and musicians, it is ultimately the artist’s mastery and emotional depth that breathe life into a raga. Great masters often transcend these time restrictions. The legendary tales of Mian Tansen from the court of Akbar the Great are well known – how he could bring rain by singing Miyan ki Malhar or ignite lamps with Deepak Raga.