Time cycles in Hindustani music

Indian classical music has been considered very unique . It is considered to be as old as mankind. It  is believed that as man progressed spiritually so did music. It went through several changes through the centuries. The present format of classical music , especially Hindustani Classical Music has been around since the 18th century.
Gradually through the centuries music evolved and it was realised that music effected our moods . Thus the Raagas were classified Into different groups depending on the time of the day.
These Raagas also were classified based on seasons of the year.
Here in this article I would like to write a little about  how the Raagas are assigned their timing during the day .
In Hindustani classical music, this system of singing or playing a Raaga at a particular time of the day has been a norm. The classification of  time at which each Raaga is performed is based on the  many technicalities of the Raaga.
1. The Vaadi swar  and samvaadi swar are one of the deciding factor of the timing of raaga. Vaadi swar is considered the Most important swar in the melody of the Raaga, samvaadi is the second most important swar. While singing a Raaga these swaras will be constantly used or often used in the musical phrases .  Then again a Raaga or the melodic scale is divided into two parts …The first half called the Poorvaang and second half is called Uttarang . If the Vaadi swar is placed in the Uttarang , samvaadi should be on the Poorvaang and vice versa. Similarly,
The time of the day , ie, 24 hours of the day have also been divided to two parts. The first half is early hours afternoon 12 to midnight 12.. The second part being midnight12 to afternoon 12 . It’s a 24 hours cycle.
Thus if the Vaadi swar falls in the Poorvaang part of the Raaga  , it is sung between 12 o’clock in the afternoon and 12 o’clock midnight. And if the Vaadi swar is on the second half of the saptak the timing is between 12 o’clock midnight and 12 o’clock afternoon.
2. The Madhyam is also considered to be an important swar in deciding the timings of the Raagas.
All Raagas which are sung or performed in between mid afternoon and mid night have Teevra Madhyam and Raagas performed after that have Shudh Madhyam. We notice a very smooth transition between the Raagas  moving from one time zone to  the other.

The Raagas sung between 12 noon and 12 o’clock midnight are:
1.Shudh Sarang, Gaud Sarang, Brindawani Sarang, Bhimpalasi, Multani, Poorvi, Shree, Marwa, Yaman ,  Hamir , Shudhkalyan,  Bihag, bageshree, Shankara, Malkauns, Darbari Kanada ..Etc

The Raagas to be sung mostly between 12 o’clock midnight to morning 12 o’clock are::
Raag: Adana,  Sohni, Bhatiyar, Bhairav, Lalit , Todi, Ahir  Bhairav, Bilaskhani Todi, Ramkali, Ahlaiya bilawal, deshkar, Bhopali, Jaunpuri,  etc.
In the above Raagas we will notice that starting in the afternoon and as time progresses, Teevra Madhyam present  in the Raaga gradually transits and changes to Shudh Madhyam, towards midnight.
There are exceptions to the above classification, like Raag Basant , Lalit etc  where both  Madhyams are used. Thus we do notice change in the mood and expression of the Raagas.

The broad Classification of Raagas based on seasons: :
The six seasons:
Basant:  The spring season is welcomed to the tune of Raaga. Basant, Raag Kafi too is sung during this season. All Raagas belonging to the Kaafi that can be sung anytime during this season.

Grishma: The summer months of Jyeshta and Ashada . During this season Raag Deepak is sung.

Varsha: The rainy season, two months of shravan and Bhadrapada,. The melodies of this season are Raag Megh, and all Malhars, like Mia la Malhar .

Sharad :  The autumn season during months of Ashwini and Kartik , mostly Raag Bhairav is sung.

Hemant:  Early winter season is welcomed by the subtle notes of Raagshree. The months of Marghasir and Paush fall under Hemant Rithu

Shishir: The deep winter season  is experienced b these note in Raag Malkauns.

 There are exceptions to all above mentioned timings Raagas like Dhani ,Pilu etc can be sung at anytime.

Author:

Padmaja Sattiraju