Yahoo Tuning Groups Ultimate Backup tuning ragas and time of day

--- In tuning@y..., "Neil Haverstick" <STICK@U...> wrote:
........
> I am aware that ragas are
> meant to be played at different times of the day according to their
> content; my question is, how is this decided? What about a raga
makes it
> suitable for one time or another? And, how did Indian musicians
> determine which raga is played where? What sort of knowledge is
needed
> to decide such a thing, and how long has this been in practice? Were
> there a group of maestros, long ago, who figured this out? Or, does
> anyone today know? And, if possible, are there musical examples
> available that illustrate the difference netween day/night ragas,
etc.?
............

My thanks to Neil Haverstick, shreeswifty, and Kraig Grady for
initiating the discussion on the topic of the time theory of raga-s.

Once, when talking about the Time Theory, I had branded it as
"always followed (practiced), never followed (understood)"

Before we take up the time theory in Hindustani (North Indian) music,
let us note its status in Karnatic (South Indian) music. Here, we
find mention, in Tamil literature, of raga-s to be sung during the
day, at night, and at any time. In Karnatic music, there are some
raga-s like malahari (morning), and Shri (midday) which follow time
theory, but they are also performed at other times of the day; this
makes for a very flexible time theory.

Time theory in Hindustani (North Indian) music has two aspects: the
seasons, and the times of the day (/night).

The Seasons
-----------
Bharat Muni of Natyashastra does not mention about the time theory.
Probably, the first ever mention occurs in sangita-makaranda of
Narada III (probable date 7th-11th century AD). The proper
classification came from Someshwara (12th century AD). According to
Narada, quoted in sangita-darpanam by Damodara Pandit, the raga-s and
the related seasons are:

Shri raga, shishira (winter); vasanta, spring; Bhairava, (greeshma)
summer; Panchama, (sharad) autumn; Megha, rainy season; nata-
narayana, hemanta (early winter). He then adds that "singers can
sing any of these at any time, at their pleasure." Drawing from
other sources, the list, reads like: Hindola, spring; Deepaka,
summer; Megha, rainy season; Bhairava, winter; Shri raga, hemanta;
Malkaus, shishira. Apart from the classification of raga-s based on
the seasons, depending upon the author and principle applied, we have
more than 35 classifications of raga-s.

The Times of the/night
----------------------

Time theory uses the unit of prahara. This Sanskrit word is
translated as "watch" and there are eight watches (prahara-s) per 24-
hour cycle, each of three hours. The first prahara (watch) of the day
starts at 6 am, the second at 9am, the third at 12 noon, and the
fourth, at 3 pm. The first prahara (watch) of night starts at 6 pm,
the fourth at 3 am, till 6 am.

A raga has its own rasa. The word rasa has been variously translated
as mood, sentiment, spirit, atmosphere, feeling, emotion, expression,
individuality, etc. Now, according to the time theory, there is a
natural association between the mood and the time of the day (or, the
season, as discussed above). The origin of this concept may lie in
the mood swings during various festive celebrations associated with
seasons, solstices, equinoxes, and the times of the day. So, a raga,
most aptly and suitably, can be sung only during a particular prahara
(watch). Historically, this "can be sung" became "shall be sung"; and
the time convention is staunchly observed even today. At one stage,
prohibition, immutability, offense, and penalty came to be associated
with performing a raga at any non-stipulated time.

The Classification
------------------

The raga-s came first, the current time theory came much later.
While much consistency has been observed in the study of the time
theory of raga, we have yet to firmly establish its principles and
theoretical basis. So, while it has come to be known as a theory, it
is a hypothesis, at this stage. It appears to be multi-faceted,
having its roots probably as much in physics, as in metaphysics and
aesthetics. However, let it not be undermined: it deserves much
deeper study than it has been meted out. A deeper study of this
theory promises to bring out significant aesthetic principles which
may have universal applications in the field of music.

The following generalisations have been observed: [In each, there
will be exceptions, to prove the rule]

(1) The location of vadi.

The uttara raga-s, the raga-s with their stipulated performance time
lying between midnight-midday, have their vadi (consonant) in
uttaranga (upper tetrachord). Thus, for example, the vadi of a
morning raga will be one of the the Pa (G), Dha komala (A flat), Dha
shuddha (A), Ni komala (B flat), Ni shuddha (B), SA (C). Ma shuddha
(F) is also included here.

The poorva raga-s, the raga-s with their stipulated performance time
lying between midday-midnight, have their vadi (consonant) in
poorvanga (lower tetrachord). Thus, for example, the vadi of an
evening raga will be one of Sa (C), Re komala (D flat), Re shuddha
(D), Ga komala (E flat), Ga shuddha (E), Ma shuddha (F) Pa (G) is
also included here.

So, if you know the vadi of a raga, you know when to perform it.

(2) Ma shuddha (F) and Ma teevra (F#)-- the adhva-darshaka (path-
indicator) notes.

(i) Broadly, the shuddha Ma (F) is indicative of morning time;
teevra MA (F#), of evening time.

(ii) Komala Re (D flat) and komala Dha (A flat) -- this
combination, with shuddha Ma (F), indicates the sunrise time; with
teevra Ma (F#), indicates the sunset time. Examples:- Morning time
raga-s include Bhairava, Kalingada, Jogiya; Evening raga-s include
Poorvi. Marwa is also an evening raga, but has a shuddha Dha (A).
These raga-s are classified as "sandhi-prakasha" (twilight) raga-s,
i.e. the raga-s performed at the time when the light and the darkness
meet.

(3) The Time Cycle in relation to Ma (F/F#).

(i) Teevra Ma (F#) is introduced as early as in the fourth
watch, 3 pm-6pm, as in the raga Multani.

(ii) It continues through the evening twilight raga-s, Poorvi,
Marwa.

(iii) Teevra Ma (F#) then goes on to the night first watch, 6 pm-9
pm, as in the raga-s Yaman, Hameer, Kamod.

(iv) In the night second watch, 9 pm-12 midnight, it persists in
the raga like Bihag, but NOW shuddha Ma (F) is introduced. Thus we
have both Ma (F# and F) in Bihag. Pass through Khamaj, Desh, Tilak
kamod, jayajayavanti; thenbageshri, Adana, darbari, Malkaus. Now we
again have teevra Ma (F#) beginning to show in Vasanta and Paraj.
This indicates that the dawn is not far.

(v) And, so, we are taken to morning twilight raga-s: Kalingada
and Bhairava, as indicated above.

(vi) Then, teevra Ma (F#) is re-introduced, but with shuddha Ma
(F) dominating, as in the raga-s Ramkali and Lalit.

(vii) Following this, shuddha Ma (F) dominates, now with shuddha
Re (D)-shuddha Dha (A) combination. As in Bilawal, for example.

(viii) Now the komala Ga (E flat)-komala NI (B flat) combination
takes over, as in Bhimpalasi.

(ix) Now, gently, teevra Ma (F#) is re-introduced, taking us
back to Multani.

(4) Summary. Let us follow, this time, the all-inclusive Yaman-to-
Yaman cycle. Typical examples have been included.

(i) Raga-s with teevra Ma (F#). Yaman, shuddha kalyan, Bhupali.

(ii) Raga-s with both Ma (F and F#). Hameer, Kedara, Kamod,
Chhayanat, Bihag.

(iii) Raga-s with shuddha Ga (E) and komala Ni (B flat). Khamaj,
Desh, Tilak kamod, Jayajayavanti. Note: Jayajayavanti has both Ga (E
flat and E); thus it gently leads to the next category of raga-s with
komala Ga (E flat) and komala Ni (B flat). Hence Jayajayavanti is
known as "para-mela-praveshaka" (leading to the next scale type).

(iv) Raga-s with komala Ga (E flat) and komala Ni (B flat).
Bageshri, Adana, Darbari, Miya malhar, Malkaus. Note: In the
following category, teevra Ma (F#) is gently re-introduced. This
indicates that we will be led to the morning twilight (dawn) in the
next stage.

(v) Raga-s with komala Re (D flat) and komala Dha (A flat).
Sohani [has shuddha Dha (A)], Vasant, Paraj.

(vi) Raga-s with komala Re (D flat), komala Dha (A flat) and
shuddha Ma (F). See generalisation #3 (v). Bhairava, Kalingada,
Jogiya.

(vii) Raga-s with both Ma (F and F#), with shuddha Ma (F)
dominating. See #3 (vi). Ramkali, Lalit.

(viii) Raga-s with shuddha Re (D), shuddha Dha (A), shuddha Ma(F).
See #3 (vii). Bilawal, Deshakar [which omits Ma (F)].

(ix) The raga-s with komala Re (D flat), komala Ga (E flat),
komala Dha (A flat), and teevra Ma (F#). All types of Todi [like
Gurjari, Miya ki Todi, Bahaduri, but NOT Bilaskhani, Lachari,
perhaps, Bhupal].

(x) Raga-s with komala Ga (E flat), komala Dha (A flat), and
komala Ni (B flat). Jaunpuri, Asavari.

(xi) Raga-s with shuddha and very prominent Re (D), one or both
Ni (B flat/B), very prominent Pa (G), and OMIT Ga (E). This is the
Sarang group of raga-s. All Sarang raga types [ Vrindavani, shuddha,
Madhyamadi, Miya ki Sarang, Samant, Badahansa, Lankadahana].

(xii) Raga-s with komala Ga (E flat), komala Ni (B flat).
Bhimpalasi, Dhani. See #3 (viii).

(xiii) Raga-s with komala Ga (E flat), shuddha Ni (B), and teevra
Ma (F#). Multani. See #3 (i).
Multani takes us gently from E flat-B flat combination in Bhimpalasi,
to E flat- B combination, via F#, into the evening twilight ragas
[see below #4 (xiv)]. So Multani is a para-mela-praveshaka (leading
to the next scale type) raga. See Jayajayavanti #4 (iii).

(xiv) The Twilight Raga-s. See #3 (ii). Poorvi, Marwa, Shri.

And, so, we are back to Yaman in the next step.

(5) Exceptions. Certain exceptions are permitted to the Time
theory. You can sing any raga at any time, during abhyasa-gana
(singing for daily study), when the King orders you to, when your
Guru wants you to, on occasions like wedding, offering hymns to the
deity, at your (singer's) pleasure (not during a formal performance,
as on the stage), when singing all-time raga-s like Bhairavi, Piloo,
Pahadi, Jhinjhoti, as well as the raga-mala (a composition which
includes several raga-s as a string of raga-s).

(6) Conclusion.

As of now, we seem to have failed to see anything fundamental about
this theory, though I feel intuitively, that we are missing something
of immense value.

My hope is that this will help amplify our views on the question of
Time theory. Typing is not one of my strong points -- I hope there
are no misleading errors.

Regards,
Haresh.

Jarring note: Yahoo appears to believe in Timeless theory, otherwise
how does it take infinity to load?!

ragas and time of day

🔗Neil Haverstick <STICK@USWEST.NET>

🔗shreeswifty <ppagano@bellsouth.net>

🔗Kraig Grady <kraiggrady@anaphoria.com>

🔗shreeswifty <ppagano@bellsouth.net>

🔗Haresh BAKSHI <hareshbakshi@hotmail.com>