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Indian Classical Music And Sikh Kirtan
by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982

Timing of Ragas
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Timing of Ragas
Some of the ragas have been linked to the seasons. For example, Basant or Bahar raga- as the very name indicates-as the very name indicates-belongs to the spring season. Malhar raga pertains to the rainy season. As mentioned earlier, by singing this raga, the singer can make the rain fall. Similarly, Deepak raga is so powerful that it produces a kind of fire within the singer which may even burn him. These stories cannot be brushed aside, because we know today that sound waves are a kind of energy. Hindol raga, the very name refers to the swing (dol), is cheerful and joyful as it is connected with the celebration of the birth of Lord Krishna.
Classical musicologists have assigned a specific time to the performance of a raga. This has been based on the types of svara (notes) used in a particular raga. Certain ragas can be sung during the morning hours, some in the afternoon, some in the evening and some late at night. The 24 hours of the day and night have been divided into eight parts called pahar- four of the day and four of the night. Each period consists of about three hours. The first pahar of the day is from 6 a.m. to 9 a.m., the second pahar from 9 a.m. to 12 noon and so on. The first pahar of the night is from 6 p.m. to 9 p.m., the second pahar from 9 p.m. to 12 p.m. (Midnight) and so on. This theory is based on the suitability of notes to the periods of singing. Which may be given as under:

a) Ragas of the period 3 a.m. to 6 a.m. use Re and Dha.
b) Ragas of the period 6 a.m. to 9 a.m. use Re, Ga, Dha.
c) Ragas of the period 9 a.m. to 12 noon use Ga and Ni.
d) Ragas of the period 12 noon to 3 p.m. use Ga and Ni.
e) Ragas of the period 3 p.m. to 6 p.m. use Re and Dha.
f) Ragas of the period 6 p.m. to 9 a.m. use Re, Ga, Dha.
g) Ragas of the period 9 a.m. to 12 midnight use Ga and Ni.
h) Ragas of the period 12 midnight to 3 a.m. use Ga and Ni.

It may be noted that there are three groups of ragas above: (a) and (e) go together; similarly (b) and (f) may be bracketed while (c), (d), (g) and (h) form the third group. The difference between (a) and (e), however, lies in the addition of Ma (sharp Madhya) in the latter sung in the afternoon.
There is little doubt that a morning raga produces its greatest effect and impact in the morning. Nevertheless musicians today do not strictly adhere to the time schedule of the ragas. There are reasons for the departure. Firstly, music concerts are generally held in the evening or sometimes late at night. If the classification is rigidly followed, the day-time ragas will never be played or sung. Secondly, there are certain mixed ragas or guldasta (bouquet of ragas) which are becoming popular. Such melodies have broken the rigidity of time classification. Moreover, the tempo of life in urban areas is changing people’s attitudes and many music lovers welcome listening to their favourite raga at any time.

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