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Raaga Time
By Sudha Jagannathan
Ragas are classified according to the day, night or seasons.
This classification is strictly followed by Hindustani musicians.
Even in Carnatic music, ragas have been classified on the
basis of time. There are ragas that can be sung at all times.
They are called Sarvakalika ragas. Ragas like Chakravaha,
Bhairavi, Kambhoji and Arabhi fall into the category of Sarvakalika
Ragas.
Ragas like Bhupala, Revagupti, Bauli, Malayamarutha, Valaji
and Desakshi are to be sung before the Sun rises. After the
Sunrise , ragas like Bilahari, Kedaram and Dhanyasi are sung.
These ragas are also known as Prabhat ragas. Asaveri is an
afternoon raga. Sriraga and Madhyamavathy are mid-day ragas.
Mukhari and Begada are afternoon ragas and Ragas akin to Vasantha,
Natakurunji and Purvi-Kalyani are evening ragas.
Even ancient Tamil hymns like Thevaram, composed by the Nayanmars,
are allotted specified time. These are classified as Pagal
Pann (Day), Iravu Pann (Night) and Podupann (Common).
The ragas sound pleasant when they are sung at times specific
to them. It is, however, not compulsory that these are sung
at a particular time. They are, nevertheless, sure to enhance
the positive results when sung at proper time.
In Hindustani music, the 24 hours of a day is divided into
8 praharas. One prahara consists of 3 hours, starting with
dawn. The ragas are also sung on the basis of seasons. The
Bahaar (Vasantha Ruthu) group of ragas is sung for the spring
season. The Malhaar (Varsha Ruthu) group of Ragas is sung
for Monsoon and Kaanarha group for late nights.
The Bahaar group consists of Ragas like Bahaar, Adhaana Bahaar,
Sur Bahaar, Basanth Bahaar etc. The Malhaar group or the Monsoon
melodies consist of Malhaar (Suddh), Megh Malhaar, Miyan Ki
Malhaar, Meera Ki Malhaar, Sur Malhaar etc. The Kanhaara group
or the night melodies comprise Darbari Kanahara, Hueseni Kanhaara,
Abhoghee Kanhaara and Kanhaara.
The Hindustani ragas are also classified on the basis of the
notes - Vadi and Samvadi. Vadi is the primary important note
and Samvadi the next important note. The first Prahara ( 6-9
AM ) denotes the morning hours or the Ushahkaala. The Ragas
belonging to the Kalyaan and Bilawal Thaats are sung during
this time.
The second Prahara ( 9-12 AM ) denotes the forenoon or the
Prabhaathakala. Ragaas like Bhairavee, Thodee, Asaavere and
Kafi Thaats are best rendered during these hours. The third
Prahara ( 12-3 PM ) denotes the afternoon or Poorvaanha.
The Kafi and Thodee Thaat ragas are sung this time. The fourth
Prahara ( 3-6 PM ) denotes early evening or the Aparanha or
the Poorvasandhya. Ragas of Porvee, Marwaa and Bhairav are
chosen for singing at this hour.
The fifth Prahara ( 6-9 PM ) denotes the late evening or the
Sandhyakala. Kalyan and Bilawal Thaats ragas are practiced
this time. The sixth Prahara ( 9-12 PM ) denotes early night
or the Poorva Ratri. Khamaj, Kafi Thaats Ragas are suited
for this time. The seventh Prahara ( 12-3 AM ) denotes late
night or the Apara Ratri. Asaveree and Bhairavee Grouped Ragas
are sung during this time. Finally, the eighth Prahara ( 3-6
AM ) denotes pre-dawn or the Brahma Muhurtham. Poorvee, Marwaa,
Bhairav and Bhairavi Thaats Ragas are most suitable for rendering
during this hour.
The Hindustani ragas have been classified into 10 Thaats,
similar to the Melakartha Ragas of the Carnatic music. Ragas
like Bhairavi and Piloo can be sung at all times.
There was yet another raga rendered by Miyan Tansen in the
Akbar’s Court. It is known as Deepak raga. Summer is
regarded as the appropriate time for this raga. But it is
supposed to set the singer aflame. Tansen was fortunately
saved when he rendered this Raga, thanks to his quick-witted
wife who sang the Malhaar Raag.
The relevance of time in rendering a raga is highlighted by
Sarangadeva in Sangitha Ratnakara and Sangitha Makaranda of
Narada.
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