SAMAYA RAGAS - DEFENITION AND CONTENT

We are living in an age of speed and action. The scientific invention and tech-

nological developments of the last one hundred and fifty years have influenced our

life profoundly. Speed has conquered distance. This fast movement has tremendously

influenced management oftime. The means ofcommunications like telephone, television,

computer, radio etc. have put in our hands such a fast medium of transmission that

within seconds we can transmit any news from one corner of the planet to the other.

Mechanical aids have also enhanced the working capacity of the modern man. With

the help of machine one man can now do the work ofa hundred men. This enhanced

working capacity has created deep rooted psychological and moral problems. The

modem man wants to do more and more things in the least possible time. This has

made him eternally active and restless. He is always busy. Mechanical aids produce

quick results. These devices have made the modern man more greedy and impatient

than ever before. He wants to possess more and more things. This desire to possess

more and more has made him tremendously active and restless. Mechanical aids were

invented to give man more time for relaxation and more leisure. But ironically, modem

man with all the scientific and technological aids does not get any leisure. Work has

becomes an intoxicant for him and he has acquired an addiction to it. Leisure, if

provided, becomes a curse to him. He does not know what to do with his time. Even

in leisure, he invents hundreds of things to keep himself busy and active.

We see by observing nature, that the whole universe is governed by the laws of

causation. Trees bear fruits and the fruits contain seeds. The seed is the cause of

tree and the tree is the cause of the seed. Thus the Cycle goes on cause and effect

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are inseparably interwoven. This law of causation is called "Kanna Sidhantha" in Hindu

Philosophy. The whole phenomenon of nature, material, mental, moral and spiritual

is governed by the law of causation.

Time Relation Cycles

The 12 notes of the musical system were themselves each related to one of the

12 signs of the zodiac. It is believed that music strictly adheres to cosmic principles

and time cycles.

Whenever we are within audible range of noise, influence of sound is playing

upon us constantly speeding or slowing, regularizing or making irregular our heart

beats, relaxing or jarring the nerves affecting the blood pressure, the digestion and

the rate of respiration. Its effect upon the emotions and desires of man is believed

to be vast and the extent of its influence over even the purely intellectual, mental

process is only just beginning to be suspected by researchers. Music may also play

a far more important role in determining the character and direction of civilization

which most people have now begun willing to believe. The powers of music are mul-

tifaceted.

Music has been used in order to bring about emotional and mental effects. Fishermen,

harvestors and other workers have sung in union in order to inspire themselves to

work at optimum capacity. With the coming ofradio, scientific researchers have discovered

that melodious and cheering music on the factory floor boosts productivity consid-

erably.

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 The main difficulty presented by the time theory at present seems to be that

concerts usually can't be organized at all times of day and night to enable one to hear

all the ragas at their proper time. Considerable adjustment in this regard while retaining

the broad format of the time theory is a convenient solution to this problem which

should be acceptable both to musicians and listeners.

In accordance with the Raga Vela theory, the period between two successive dawns

is divided into eight watches (yamas) of three hours each more broadly into forenoon

(purvanga), noon or mid day (madhyahna) afternoon (aparahna) or the time may be

simply indicated as dawn (prabhatha), evening / sayam, night nisa/ratri. Raga perfor-

mance may be prescribed in respect of one of these. There are also ragas which are

fit to be performed any time of the day or night. Besides these narrow widths of

time, longer periods such as particular seasons are also prescribed for performance

of ragas. Raga mala paintings confirm to such time prescriptions. Today there is

a more or less rigorous conformity to this in Hindustani Music largely by conven-

tional sanction for the theory. Still it remains to be tested with systematic experi-

ments and observations. This averts a serious disadvantage. viz, ragas which are prescribed

to be performed late at night or very early morning have become extinct for lack of

exposure. An elaborate ragavela theory relating to performance times of ragas to

swaravikrithis, sudha, komol etc. have been formulated by Bhatkande and Kamard.

The theory of ragavelas is a survival from the predichotomy period in Indian

Music, for such time prescriptions are found in many major treatises of those periods.

It prevailed widely in Kamatic Music also till recently. This is supported by numer-

ous literary references in Kannada. As time is ever-flowing, Music is also ever-flowing.

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 Time is infinite. No one knows when it started and when it will end. That is

why it has been termed 'Mahakala', 6 ofthe inconceivable and infinite time or Mahakala,

musical tala has evolved.

In music, time is also significant in the usage of percussion instruments for keeping

rhythm. A small beat of rhythm is calculated according to the measurement of time

or kala. There are so many patterns of time measurement to determine a tala. The

tala or time measurement governs the whole music except ragalapana. When we sing

or play raga the time is unlimited and the scope fully depends on the creativity of

the singer. Time measurement is not possible in the field of ragalapana. Instead of

tala, the swaras govern the whole structure of raga. It is the swarasthanas and the

order of swara phrases makes the frame of a Raga.

Measurement oftime in Indian Music is also a very important and difficult problem.

It should be very carefully studied and remembered by beginners as well as by those

who have become experts in the art of music. It is effected by the structure of the

language and the method of versification which comes out ultimately from the gradual

development of the prosody and meters of poetry. Laya or time measurement in music

is entirely based upon the syllables and mainly fine symbols are used for its fulfill-

ment. Time is inseparable from human consciousness. There is no human being without

time consciousness.

Time is a supreme power in the universe. Time is rhythm. It is cyclical in nature.

The kala sakthi or the power of time reveals itself as the Sakthi of the Divine Shiva.

Hindu temples embody the concept of time.

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Physical concept of time

Time is order form of experience

Time measures events

Time is divisible into equal parts.

Time is perpetual transience

Musical Time Concept

Time is content of experience

Time produces events

Time knows no equality of parts

Time knows nothing of transience

(Lewis Rowell) (concepts of time ancient and modem)

The music of India responds to the cycles of birth and death, day and night and

the seasons explained by Experts ie., the natural rhythm are caught in the life rhythm.

The Indian rhythm begins with the Vasanth Ritu or spring. The monsoon and spring

are the most important seasons in India's literature and music.

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 SAMAYRAGAS IN HINDUSTANI MUSIC

Man is supposed to be the best creation of God or nature, mainly because he can
express his thoughts and feelings and can imitate others according to his intelligence. The
primitive ages have changed in partly political, social, economic and religious conditions
due to music and its enchanting power. Music has a highly educative value. It feeds the
aesthetic sense of mankind. It refines manners, deepens and enables the emotional nature
and gives grace to all human expressions.

Hindustani Music or music prevalent throughout Northern India, is known as the

Hindustani Sangeeth Padhathi or "Bathkande system of Music". Hindustani Raga is real-
ized in its performance and not in a recital. Ragas have emerged from the human voice.
The best performer on an instrument is still a person who can make his instrument almost
speak and sing.

Venkatamakhi first introduced the That system in Indian Music. It is quite true that
two different systems are in vogue in the country named the Southern, Karnatic System and
the Northern or Hindustani system of Music. It is true that the names of the Ragas and
styles of singing in the two systems differ from each other, but it cannot be denied that the
basic principles such as the Ragas and their formation are common to both the systems.
Venkatamaki's proposition, therefore, which is absolutely based on purely mathematical
calculation, will apply to both the systems equally well. Venkatamakhi firmly believes that
the number of Thats enumerated by him can neither be increased nor decreased even by
Shiva himself.

A That is a series of 7 notes or Saptak, taken in their order, beginning from Sa, the
starting or keynote of the octave. That is a combination of swaras or notes capable of
producing Raga or melody.

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The Basic Principles of That

A That must have all the seven notes ofthe scale and the notes or Swaras must come
in their proper order, that is just one after the other. The Raga or a That does not omit any
one of the above swaras. The Arohi andAvarohi should be in the symmetrical method.

Particular ragas are to be sung in particular seasons and even in that season, at a par-
ticular time of the day or night. It would be considered a sacrilege to sing a raga at any
other time, except at the time assigned to it. The restriction about the season has almost
disappeared in course of time, but the restriction about the time of the day or night still
exists.

For the purposes of the allotment of proper time, ragas are divided into purva and
uttar Ragas. The purva ragas have their Vadi note in the fIrst tetrachord, while the uttar have
their vadi in the second.

The purva ragas are sung from midday onwards upto midnight and their ascending
progression is in keeping with the more vigorous and active part of the day. The Uttar ragas
on the other hand are in the descending progression and takes a delicate and plaintive
character and justly employ those hours, that is those from midnight onwards upto midday,
during which time people are on a reflective mood. Sunrise and sunset happen to be the
reflection of midpoints ofthe two time cycles and it is at these times that the best Ragas of
each type are to be heard. Such Ragas are called Sandhi Prakash, meaning twilight Ragas,
and are the most favourite of the artists and listeners alike. In Indian Music, it has been
customary to associate specifIc Ragas with specifIc emotions. Why a particular emotion
is associated with a particular Ragas is a matter which needs closer consideration. As such
the problem is dealt with independently in another chapter, and there it will be seen that it

has a truly scientifIc basis.

The basis which was adopted formerly by the majority ofthe northern musicians was
known as the Raga Ragini Putra basis. It is a somewhat fanciful system, the details ofwhich
depend very largely upon the choice of each individual.

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 A raga must belong to some That, that is parent scale and it must have 7 or at least five
notes belonging to the scale from which it is produced.

In a raga or melody the two notes namely Ma and P are not allowed to be dropped
together at the same time.

A raga must possess fixed varnas, namely Aroha (ascent) andAvaroha (descent) and it
must also have a fixed Vadi and a definite Samavdi note, belonging to the same That from
which it is produced.

Lastly a Raga must appeal and please the listeners.

As regards the basic principles of the That, authors on treatise of Hindustanic Music
have divided the octave into halves, known as purbardha and uttaradha.

The natural order of the Janaka melas to be used during the course of a whole day and
night needs a vast study through in this chapter. There are only IO Thats in Hindustani
Music. These are the Basic Melas or That. According to Pt.Bathkande, a contemporary of
Venkatamakhi, the study of IO Thats and its derivatives emerged as a great subject in the
history of Hindustani Music.

'Rag Darpan' is one of the monumental works, which was written during the 17th
century. According to Vankatamakhi and Pt. Bathkande, the Thats are as follows:-

1.Bilawal
2.YamanKalyan
3.Bhairavi
4. Todi
5.Marwa
6. Poorvi
7.Khamoj
8.Bhairav
9.Kafi
10.Asaveri

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 For the placement ofa raga in their time schedule, the day is divided into eight watches
or praharas, each consisting of three hours. The counting of the prahara starts with the
break ofday, that is at 6AM. The first prahara ofthe night commences with sunset is at 6')
clock in the evening. Thus there is a bilateral symmetry, which is reflected in the arrange-
ment of ragas in the time-cycle.

Sandhi means a junction, ie the passing of night into day and day into night. There
sees to be a psychological significance in this. For it is the time of mental twilight be-
tween the conscious and the non-conscious, a time when one sits for prayer and medita-
tion. The theevra Madyam is ofparticular interest. The first obvious fact is that it replaces
the Sudha Madyama in the evening ragas. Often the twilight ragas have both the notes as for
example Lalith early morning and poorvi (dusk).

The Ragavela theory is completely absent in the South. While it is a fact that ragas
like Bhoopalam, Mayamalavagoula are preferably rendered in the morning, there is nothing
to prevent these being sung at other times ofthe day. Perhaps time restriction is stricter in

one or two cases like Bhoopalam. Such a lack of constraint is an advantage in a way, for a
musician has a wide choice ofragas for a concert. For a North Indian Musician, the choice
becomes restricted. One has only to tum to a Radio programme from the Northern station
to note inevitable repetition of ragas.

Besides the difference in the two systems, modem living has had a profound effect
on this raga time association. Sunset and Sunrise do not any more have the intense psycho-
logical meaning whereas a rural mind is still attuned to natural changes. Radio program-
ming and disc recording have also had telling effects. Once is not surprised, therefore, to
hear in a radio conference raga malkhouns played in the evening, followed by a singer
rendering raga Pooriya. The other major aesthetic principle developed in Hindustani Mu-
sic is the iconography. As referred to earlier, evening raga has been abstracted to a mental
form and their form is further iconized. The psychological icon is the 'dhyanamoorti' or
meditable form. Besides ragas acquire certain feelings, masculine and feminine.

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 A Hindustani raga has also been usually associated with the time ofthe day. Evening
raga has been ascribed to a watch of the day and no musician will sing or play it devoid of
their temporal context.

A degree of difference exists in the approach to raga foonation in the Hindustani and
Kamatic systems. And it would be worth discussing, as it will help us to understand the
differences in the technical aesthetic feelings. It is commonly found that Hindustani ragas
have more than 7 notes, not only so - two semitones are often posed. The reader may listen
to ragas such as Lalith and Malhar. Such usages are discouraged in Kamatak Music. The
gamakas or graces are also characteristically different. Hindustani, with its broad sweeps,
glides and flicks and the Kamatic with its almost coiled technique.

North Indian Music has also two interesting psychological attributes of raga. One is
the time theory and the other is the dhynamoorthi.

It is usual to attribute a particular season and time to ragas, but seasonal connections
are not so specific. Some of the more important examples are the ragas Vasant and Malhar.
The first is ofthe spring and the second is of the rain. There is story ofTansen and how his
life was saved by Malhar. The tale goes like this. Tansen, the great singer had became a
close favorite Emperor Akbar and this naturally raised the eye of his fellow countries.
They planned to extenninate him and persuaded the Emperor to request Tansen to sing rag
Deepam the raga of the lamps. Now if sung properly, the melody is supposed to generate
immense heat. Not fully realizing the consequences, Akbar ordered the singer to render
Deepak. Tansen dared not to disobey the command and commenced singing raga Deepak.
One by one the lamps in the courtyard lit up by themselves. The musicians body became so
hot that he had to sit in the near by river to cool himself. Even this was insufficient, for the
river began to boil. It was indeed a precarious condition as Tansen would be boiled to
death. The one ofhis friends remembered Tansen's lady love and ran to her. He told her of
the dangerous situation. She immediately started singing raga Malhar and torrential rains
poured down from the heavens. Tansen was cooled and saved.

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 The That is an impersonal scale which always has seven notes and is used as a head
line, it in a basic scale, which serves mainly for classification purposes. For instances,
.. while the That scale ofKhamaj isCDEFG ABC. The scale ofKhamaj omits the noteD
in a scent, stresses the notes E and B 1, and also occasionally employes the note B. the
following table shows the relationship between the 10 That ragas and the 8 phrases.

Phrases Time That

I 7am to 10 am Kalyan,Bilawal

II 10 am to 1 pm Bhairav, Todi,Asaveri

m 1 pm to4pm Kafi

N 4pm to 7pm Kafi, Todi

V 7pm to 10 pm Purvi, Marwa,Bhairavi

VI 10 pm to 1 am Kalyan,Bilawal

VII 1 am to4pm Khamaj,Kafi,Asaveri,Bhairavi

The notesC andG remain unchanged in all ragas. The most characteristics periods of
the 24hours of a day and night are sunrise and sunset. Other characteristic periods are
noon, midnight, morning and evening. Although there are hundreds of ragas in the North,
we shall limit ourselves to the scales of the ten That ragas and indicate the chromatic changes
that occur at the above mentioned periods. The chromatic changes of the notesDEF A and
B are graphically shown in the previous chapter.

The pre Sunrise and the pre Sunset ragas have the notesCF andG and often use one
of these 3 notes, as their Vadi. Ragas which follow the Sunrise and Sunset groups often
employ the notes D E A and B. Noon and midnight ragas employ either E 1 or B 1. In
addition, we find that the notesDF and A are based. Dbecomes very strong while A and of
course E become very weak or are omitted.

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 Late morning ragas avoid E I in ascent but use it strongly in descent. Puriya - dhanasri
usually a sign of a morning performance time, Puriadhanasri, is always sung or played in

the evening. It is a raga close to Purvi.

Vasant or Basant in Bengal means the brilliant season of spring. (It is considered as a
male raga). It is subordinate to the 'Purvi That' and performed in slow tempo and late at
night particularly in the spring. Paraj raga must be performed at night. Marwa - is a raga of
Sunset. Sohani - its time different considerably. Bhimpalsi should be sung in the after-
noon. Dhanasri is sung in the early afternoon. Bagesri is a night raga. Pilu is a Sarva Kalika
raga.

We have an idea of the total assessment of singing swaras which could be sung and
which can't be sung according to the Samay.

It is easier to sing Komala swaras than Tivra swaras. Also the Purvanga is easier than
Uttaranga (sa to rna) and (pa to sa). Hence it may be taken as a general rule that the purvanga
raga with Komala swaras should be sung during the period from midday to evening and
purvanga ragas with Tivra swaras from evening and purvanga ragas with Tivra swaras from
evening to midnight. Likewise ragas with Komal swaras from daybreak to midday. Ragas
sung in Tara stana are more pleasing after midnight.

In the first part ofthe night, Purvanga notes are more pleasing while in the latter part

the Uttaranga ones are better and this order is reversed in daytime. This of course does not
take account the Tivra and Komala Swaras.

To proceed on the basis of the second consideration, it is necessary to take note of

the daily routine in olden days, ofan average Indian, in fair health and having no extraordi-
nary troubles. He woke up at about 4 AM, said his prayers, and taking his bath, he per-
fonned his worship. After this, he went out to work for his living and came back at about
midday for his meals. After perhaps a little gap he went out again to earn his living from
which he returned rather tired at about sunset. After ablutions, he had his Sandhya prayers

71
and after the evening meals, he was free to have a chat with friends or members of the
family. He went to sleep about midnight, to get up again before dawn.

It will be seen that the hours when he was worried most were the afternoon hours
when he had to work for his living probably hard. There was a little worry in the morning on
this account. Spiritual consciousness is an important factor in classical music. Otherwise
the Westerners concentrate only on performance of Pulli, Drums etc. Fusion music is a
mixture ofEastern and Western Music and it will not last long. Classical Music has a large
canvas from ancient times. The great composers have enriched it through their spiritual
experiences. Classical Music is a composed Music which (started from 3 swaras). Light
Music has not such a deep system. It sometimes add lines or sometimes change its phrase.
It has no Script and it is a Hereditary Music. We should carefully practice the originality of
music and find the spiritual factor in it. Since Kalyani Mela consists ofall the 7 swaras and
the swaras accept ofKampitha gamakas, it becomes a Sarvakalika raga. The Theevra Madhyam
and Theevra Nishad shape the portrayal ofthe raga. Likewise Marwa and Purva Mela also
dominates with the Teevra Madhyam and Komal gandhar combination those embellish-
ments give a pleasant mood in the evening hours.

A raga may represent a scale which mayor may not possess the same notes in Arohana
and Avarohana. Most ragas differ from each other in their specific tone material. There are
some ragas which cannot be represented by simple scale forms because their scales of
Aroh/Avaroh may be in a more or less irregular manner. Certain notes within the tone
material of a raga have greater, and others, lesser importance. In some instances, several
ragas with identical tone material are distinguished from each other only by the different
emphasis given to specific notes. Numerous ragas are characterised by certain typical
phrases and certain others, by certain typical intonation of some of their notes.

In addition to these musical characteristics, there are a number of extra consider-

ations, some of which have lost their importance. Many ragas, if performed correctly are
believed to possess magical powers. Numerous ragas have to be performed at specific

72
times of the day or night, and some ragas have to be sung or played at particular seasons of
the year - one speaks of morning or evening - ragas of spring - autumn - rainy season -
winter ragas and so forth. A considerable number of ragas are believed to represent per­
sons, usually various deities of the Hindu pantheon and are shown in the form of pictorial
representations. Each of a large number of ragas has its own characteristic mood (Rasa).

Pandit Bathkande established 10Thats, which form the basis of all other ragas. The
works "Hindustani Sangit Padhathi' and' Abhinav Raga Manjeri' are his great works. Pt.
Bathkande, the most important figure in North Indian music of the early 20th century fol­
lows the direction set by Muhammed Razza and bases his classification of ragas to some
extent upon Venkatamakhi's 'Chadurdandi Prakashika".

KalyanThat Timings

BilavalThat Kalyan, Bilaval 7-10am

KhamajThat Bairavi,Todi, Asaveri, Kafi 10-1pm

BairavThat Kafi, Todi 1-4pm

PurviThat Purvi, Marwa 4-7pm

MarwaThat Bhairav 4-7am

Kafi That Kalyan, Bilavel 7-10pm

Asaveri That Khamoj - Kafi 10-1am

BhairaviThat Asaveri, Bhairavi 1-4am

TodiThat Purvi, Marwa, Bhairav 4-7pm

These are the names of10famous Thats, which are at present existing in the North
Indian Music. Let us make a detailed study of each of the ten ragas or melas.

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 The Kalyan Thats - 7-10 am

Kalyan is the Indian (Sanskrit name) and Yaman the Persian name. This raga should be
performed during the first quarter of the night. Today Kalyan is considered to be a raga
bringing back and a soothing raga. For this reason, it is usually performed in the evening at
the beginning ofa concert or theatrical performance. This is one ofthe maj or Ragas giving

ample scope for alapana.

Rag - Yarnan Kalyan

This rag differs from raga Kalyan in its descending scale E FED C (g m g r s).
Musicians perform it during the first quarter ofthe night.

Rag Bhupali

This rag is subordinated to the Kalyan That. 'Bhu' - means earth 'pa' means protector
or father. This raga gives a royal courtly character. Bhupali is always performed at night in
slow and dignified tempo.

In North, Suresh Khan specialized in day ragas and Chand Khan was the expert on
night ragas Sudha Kalyan belongs to Kalyan that and has to be performed at night.

Rag Malashri belongs to Kalyan That, and is supposed to be performed at afternoon.

Its Vadi swar is pa and samvadi swar is sa. The notes R and D are omitted. The gliding steps
- P - Ga - G - Sa are characteristic.

Kedar

This rag is one of the important rags of Kalyan That and has to be performed during
the first quarter of the night. It possess magic properties. It can heal diseases and even
melt stones.

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Rag Hameer

Hameer is an important raga belonging to the Kalyan That. In Somanatha's work, 'Rag
Vibodha', this raga is listed as one ofthe primary ragas (12). Hameer has a serious belli-
cose character and its melodies are often associated with stonns, thunder and battles. It
has to be perfonned at night. Vadi swar is D and Samvadi is G.

Sudha Sarang

This actually belongs to Kafi That, which has to be perfonned at noon. It is one of
Thanse's favorite rags. The name, however, may have been derived from the name Sarangadev
of the 13th century. Vadi swar is R. Samvadi is Pa.

Hindol

This rag is one of the famous ragas, and is subordinated to Kalyan That. It is a sea-
sonal raga, which is usually perfonned in the morning during the months of March and
April. The word Hindola means Swing. The position ofthe Vadi swara D is an indicator of
the perfonnance time, the morning. Its rasa represents quiet and dignifiedjoy.

Bilaval That 7-10 am

This That has the largest number of subordinate ragas. The 29th mela Deera
Shankarabharana in Karnatic Music corresponds in many respects to Bilaval. We can see
this raga popularly in all types ofMusic, serious and light, in the temple as well as in places
ofgay entertainment. Its ancient name is Velavali in 'Sangita Darpana' and in several other
works this raga is described.

Rag Shankara

This rag is a night rag ofthe Bilaval That.

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Rag Bihag

This rag is an important rag, subordinate to Bilaval That. It has to be performed at

night. Its rasa is a loving, thoughtful, laughing combined with gentle anxiety. Vadi swar is G
SamvadiNi.

Rag Mand

Light and popular rag which can be ascribed to Bilaval family. It can be performed at
anytime.

RagPahadi

Light and popular rag, used to be sung at any time during day and night. Pahadi, Pilu

and Jhinjohti are more serious ragas. Numerous folk melodies are sung and played in
Pahadi rag. The Vadi is Sa. Samvadi is P. The notes M and Ni occasionally heard, are very
weak.

Rag Durga

Pleasant rag usually performed at night. Its Vadi M and S. The swar D is strong.

Rag Dipak

There exist two types ofDipak, one belonging to Bilaval That and another to the Purvi

That.

The magic power ascribed to this raga, if rendered faultlessly, is the creation of fire.
As Dipak is to be performed in the evening, a time when the lamps are lit, the chance of
having fire in the house is ofcourse greater than at other items. There are numerous musi-
cians and theorists who shy away from singing is Deepak. Orthodox and Indian Musicians
very rarely perform Dipak or explain its performance rules. The ancient beliefin its magi-
cal powers is still alive and this may be one reason why there exist only a few songs in this
raga.

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 Hamsadwani - Night time

Vadi swar is S or G. Samvadi P. M and D omitted. Most simple ofNorth Indian Music.

Khamaj That 10-1 am

Khamaj is usually performed at night. Samant Sarang resembles suruti to a great

extent and sung during the second prahara ofday.

Rag Thilang Night rag

Rag Desh Night rag - Pa Vadi - R Samvadi

Rag Rageshri Night rag

Jin Jhoti Most suited for light Music - sung at any time
but most frequently at night

Jay Jaywanthi Romantic rag played at night

Bairav That 4-7 am

Lord Shiva is believed to be guarded by three giants (Bairava, Bhima, Darshana).

Bairava, one of the incarnations of Shiva, is represented by this raga.

In morning rags - N is weak, Da - Komal is strong

In evening ragas - Ni is strong, Da - Komal is weak.

Ahir Bairav - Ma is Vadi swar.

Anand Bairav - Morning

Lalith Pancham - After midnight. Vadi - M and S.

The note M assumes a special importance in many ragas sung or played late at night.
The occasional use of the note M (Tivra) indicates the resemblances to ragas Lalith and
Pancham.

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Purvi That 4 - 7 pm

Rag Shri

Shri is not only a raga ofthe sunset. It can also be perfonned during the rainy period.
June to September and November to December. Its character is mysterious gentle and it
often depicts the meditation oflove and the nostalgic and prayerful mood of early evening.

Puria Dhanasri

Dhanasri is always sung or played in the evening. The Puria Dhanasri rag comes very
close to that of rag Purvi.

Vasant (Basant)

A famous and frequently performed raga. The Sanskrit word Vasantha means the bril-
liant season of Spring. This is performed in slow tempo and late at night, particularly in the

Spring. Its character is gentle loneliness and quiet joy.

RagPara; : Night rag Same vadis on rag Vasant.

RagMalwi (Malewa) Evening, like Vasant and Paraj

Rag Rewa - Evening G - Vadi

Marwa That 4-7 pm

Represents the mood of anxiety and solemn expectation of sunset.

Rag Sohani

Tender loving mood, Morning rag Before sunrise. G & D - Vadi P omitted. Melodies
gently given with high Shadja.

Kafi That 1-4 pm

Created at the time ofIslamic invasions into India. A very popular rag, sung during the
second quarter of the night. The swar P is very strong and at the centre of the melody.

78
Bhimpalasi

This raga creates a quiet peaceful and tender mood. Vadi Swar Ma SPare visharanthi
stans. R&D avoided in ascent in this raga. The raga begins with komal- Ni, in the lower
octave.

Rag Dhanasri

Today considered to represent a light and cheerful mood which is to remove from
griefover an absent lover. Early, afternoon rag G, P - Vadi and S. There are many similari-
ties between Bhimpalasi and Dhanasri. The difference can be easily recognized by their
Vadis and moods. Dhanasri is lighter and more cheerful than Bhimpalasi. Vadi is very
strong Rand D is avoided in ascent.

Bagesri

Serious and great rag. Performed at night. Ma and S, Vadis R, omitted in ascent.
Bagesri has too similarity with Rag Sri Renjini.

Pilu

Light popular rag with Persian origin. Generally, sing in evening. Majority musicians
state that Pilu rag can be performed at any time' Ga' in Komal and Vadi swara is 'N' .

Asaveri That 1-4 pm

Jaunpuri

Derived from the Indian City Jaipur. Independent rag. Performed often late in the
morning derived from the 20th Thala.

Devagandhari

Morning D & G Vadi. (Devi Gandhar) - Devagandhari. Same like Jaunpuri.

79
Bairavi That 10 - 1 Noon

Late morning, Peaceful, Serious occasionally also ofsad mood. - Vadi - M and S.

Malkouns

Serious mood. To be performed at night.

Bilaskhani Todi

Tansen's son, Bilaskhan, became the court singer after Tansen's death. We can see
many combinations ofthis raga. Morning raga. Pa, G Vadi.

Todi That 10-1 Noon

To be sung at late morning, represents a mood ofdelightful adoration in a gentle and

loving sentiment.

Multani

Named after the city of Multan, quiet and loving and expressive of a contemplation
mood. Same as Todi in Scale.

Sandhi Prakash Ragas

According to the value of Time, North Indian system of Music is totally classified
under 6 cycles on each Day and Night, with the 24 hours of a whole day.

According to North Indian Music 12'0 clock is the deviating hour of each section.
The first 12 hours of the Day are known as Poorva Bhag and second 12 hours as Uthar
Bhag.

Sandhi means a junction; The passing ofnight into day and day into night.

1) Ri, Ga, Da, Ni grouping indicating that the raga is to be performed during twi-
light dawn and dusk. Such raga is known as a Sandhi Prakash raga.

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 2) Ri, Ga, Dha, Ni (D E A B) put the raga in the first two watches of the day or
night.

3) Ga and Ni occurring in a raga, place it between the first two groups.

4) Ragas with an emphatic lower tetracord or Poorvanga Sa to P are assigned to the

time after the Sandhi (twilight) and those with a strong Uttaranga M to S to later
part of the day or night.

5) The note Tivra Madyama has a very particular significance in their time distribu-
tion.

For the placement of raga in this time the day is divided into 8 Watches or Praharas
each of 3 hours. Ragas associated with the junction of day and night are also likely to
include Tivra Ma.

Seasonal Ragas

The MaHar Ragas

The Mallar occassionally written Malher ragas are ascribed to the Kafi Thats. These
are ragas performed primarily during the monsoon, the rainy season which lasts from the
middle of June to the end of September. During the monsoon, the Mallar ragas can be
performed at any time of the day or night. Outside of the rainy season, however the ragas
are performed only in the late afternoon or evening. Some of the MaHar ragas consists
more or less ofthe material of otherragas to which are added characteristic Mallarphrases.

Megh Mallar

Megh MaHar raga is supposed to be able to produce rain. Gamakas require a heavy
slow performance. There are 3 types of this raga. The first type totally avoid the swar G
and D. A second type ofthis raga employs the note. G - komal with characteristic MaHar
gamak. A third type Megh MaHar employs the swar D but avoids G - komal.

81
Rag - Miyan ki Mal/ar

Created by Miyan Tansen, the famous court Musician ofAkbar the great. This raga is
considered as a great raga and only artists with great voices should attempt to perform it.

Sarang Ragas

The majority of the groups of Sarang raga belong to the Kafi Thats. Most Sarang
types are to be performed at noon or in the early afternoon. Some ofthe Sarang ragas show
strong relationships with the Kalyan, Bilaval and Khamaj Thats.

Rag Brindabani Sarang (Sarang)

This rag is the prototype ofthe Sarang group and is often called simply Sarang. Sarang
is supposed to represent the quiet and tender mood of the noon day. The Vadis of this rag
are Rand P. The note G is totally avoided and D is avoided in ascent and appears only as a
weak ornament in descent. Brindabani Sarang has no Vakra prayogas, Melodic phrases in
this raga can move rather freely.

Kanada Ragas

The word Kanada is frequently referred to in Karnatic Music. Karnataka refers to

Carnatic, the name ofa former province in the South, between Eastern ghats and the Coro-
mandel Coast, which was included in the former Madras province. All Kanada ragas pos-
sess two characteristics.

Kanada

The notes Ga (koma) and komal D are vakra in descent and are used in phrases such as
Ga K and Ma Re and Dha komal, Ni K and Dha.

(b) The basis ofall Kanada scales is the material ofrag Sarang. Sa Re Ma P Ni - koma!
or Sa - Ni.

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Darbari Kanada

Durbar means the audience hall, the room in which the ruling sovereign receives
visitors. Durbari Kanada is a majestic raga, which belongs to the Asaveri That. It is to be
performed at midnight in a dignified slow manner.

Adana Kanada

Often simply called Adana, this raga belongs to the Asaveri That (family). Adana is
rich with fast passages while Darbari kanada is too dignified for its virtuous features. Adana
is to be performed after midnight. Vadi is S usually the high Sa and Samvadi - P.

Husseini Kanada

Belongs to Kafi That. A rare raga with Mohammadan origin. The scale resembles that
of rag Dharbari kanada. It prefers the low octave region. This raga is to be performed at
night.

Koushik Kanada (also said to be Kafi That)

It is same as the South Indian Saramathy raga.

Bugali

Naila Songs or invocation for rain

The words Al Baisti Jhepe, dhan debo mepe" - come rain come in torrent, you will
have a good measure of paddy, illustrate the nature and spirit of Naila Songs. Peasants
suppilcate god for rain. The fervent appeal for rain finds expression in rhythmic supplica-
tion in chorus. This is Naila Song or invocation for rain.

Baromashi Gan

Baromashi Songs are songs of separation interspersed with descriptions of nature in

different seasons.

83
Shvam - Sangeet

This is a devotional style of music and the lyrics are of sages about the Goddess
Shyama (Kali) Shyama sangeet is based on raga and is sung with pure or mixed raga with
distinct Talas.

Jatiya Sangeet - National Songs

Songs which provoke feelings of national awareness in the people are called Jatiya
Sangeeth. These songs with lyrics of nationalistic content greatly help to strengthen the
nation. Jatiya Sangeet is sung in quick dadra or kohera tala.

Rag Pradhana Bangali Gaan

Sari Song

This song is connected with boats and water. Men sit in a line with oars and sing it in
chorus, as they play their oars. It inspires group spirit Sari Song has a lively and quick
rhythm. Poorva raga and Uttar raga - Vadiswara of the Poorva raga is selected from the
notes ofPoorvanga. Similarly the Vadi swara ofthe Uttar raga is selected from the notes of
Uttaranga. Therefore, the poorva rag is called Uttaranga Vadi raga. Following the opinion
of Pandit Bhatkande, the ragas played or sung between midnight and midday are Poorvanga
ragas and the ragas sung or played between midday and midnight are Uttaranga ragas.

Sandhi Prakash Raga

The day and the night meet when the sun rises and when the sun sets. Both these times
may be called Sandhi Kala, time of meeting, Ragas which are sung or played during this
time are called Sandhi Prakash ragas. The time suitable for Sandhi Prakash raga is one hour

before a none hour after the Sunrise and Sunset. Rishabh must be Komal (minor) in Sandhi
Prakash ragas. In many ragas, Both M is used. It is better to use the Sudha Madhyam in a
morning ragas and the Teevra or Kari M in an evening raga. Ragas originating from Bhairavi,
Poorvi and Marwa Thats are also in the category of Sandhi Prakash raga.

84
 Vikritha Swaras - displaced Notes R G M D N

The influence ofnature has been most potent.

Eg : Lalith - Basanta

Hindustani Music

The concept of Jati being the Matrix ofthe raga may have to be revised and substi-
tuted by Grama raga. It will be clear that Grama rag has played a more vital role in the

evolution ofraga than Jati.

Certain ragas are associated with certain regions like Manda of Rajasthan or Pahadi

ofPunjab.

According to Sangeetha Ratnakaram, ragas are mainly classified into

Desakaku : Regional rags of a particular State or province.

Kshethrakaku: It is pertinent to state that the express of a raga is considerably gov-

erned by the timbre of the particular voice. It is common experience that some musicians
have a fancy for certain ragas as the timbre of their voice is suitable to them.

Yantrakaku : This pertains to the timbre ofMusician instruments, which can also have
its place in raga.

Poorva Rag: Ragas which can sung at the first half ofthe day time.

Uther Rag: Ragas which can sung after the first segment is known as Uther Bhag.

Poorvaraga Vadi Rag: The dominant SWaras of S R G M, the Poorva swaras ofa Saptak
may be the Vadi swara of any Rag ofPoorva Bhag came under this category.

Utharanga Vadi Rag: Vadi swaras occur in the Uther Bhag, P D N S, Sandhi Prakash
ragas are ragas where komal Ga and Ri occur in any ofthe above parts.

The time between Evening and Night is known as Sandhi Prakash Vela.

85
 Eg : - Bairav, Kalgada, Bairavi, Poorvi and Marwa. Sandhi Prakash ragas is again split
into two parts. Morning Sandhi Prakash ragas and ofEvening Sandhi Prakash ragas.

Ragas which are sung at the time Sunrise is Morning Sandhi Prakash ragas. The ragas
during Sunset time are known as Evening Sandhi Prakash Ragas.

The Sandhi Prakash Ragas most significant Swaroop lies in the Madyama itself. The
Madyaswara differentiate both the Morning and Evening Ragas. In Morning Sandhi Prakash
ragas, Madyam is sung little lightly and in evening it sung with Tivra - Ma.

The swaras Sudha Ri and Da usually sung in Morning.

Tivra Madyama ragas

Yarnen, Sudhakalyan, Malesri, Hindol, Hameer, Kedar, Kamod, Bhupali, ChayaNat,

Bihag, Shankara.

Tivra Ga and Kamal Ni Ragas

Kharnas, Des, Tilak, Kamod, Dwijavanthi

Kamal G and Kamal Ni - Ragas

Bagesri, Darbari, Bahar, Malkouns, Adana, Pooriya

Morning Sandhi Prakash ragas are greater in number than Evening Sandhi Prakash
Ragas. Kalingda, Jogia, Lalitha, Ramkali, Bairav and all types ofsuch ragas, Bilaval, and all
types of the rag Todi and all types of the rag, Asaveri, Johnpuri, Sarang, Kafi, Bimplasi,
Danasri, Multani, Poorvi, Pooriya, Danasri, Sree Gowri, Marva are includes in the above

category.

Most ofthe singers sing ragas according to their likes or dislikes only. This method
of singing is against the rule of Samay rag schedule. It is better that they take care of
choosing ragas for the particular / apt time and then only the audience and singers will

86
enjoy the blessings of God. By choosing the incorrect time/schedule ofragas, rasolpathy
is destroyed.

The Samay Rag Cycle

1st watch of the Day

The Ragas from Bairav, Todi, Bilaval That with Su - R and Su - D. Usually Bilawal and
Gouda Saranga are shown in the traditional cycle.

2nd watch ofthe Day

Ragas from Bhairavi, Todi, Asaveri or Kafi That with Komal Ga and Komal Ni.

3rd watch ofthe Day

Bhairavi, Johnpuri, Asaveri, Sarang

4th watch ofthe Day

Bimplasi, Pilu, Multani

5th watch ofthe Day - Evening

Ragas from Purvi, Marwa Thats with Komal R and Ga, Purvi, Marwa

6th watch ofthe Day

GowriRag

1st watch ofthe Night

Ragas from Bilawal, Kalyan or Kharnoj with Sudha - R and Sudha - D. Yarnan, Bhupala

2nd watch ofthe Night

Bihag, Kharnoj and Desh

3r watch ofthe Night

Ragas from Kafi, Asaveri, Bairavi, Thats, Kafi, Bagesri

87
4th watch ofthe Night

Darbari kanada, Malkouns with Komal Ga and Ni.

5th yama ofdawn (Morning)

Poorvi, Marwa, Bhairav, with Komal R and D.

6th stage is morning

Sandhi Prakash Rags. The Madyama displays a significant Bhava with all the Morning

Ragas. Hence Madhyama is known as the king of Swaras. The Tivra Ma mostly defines

Evening hours while Komal Ma usually relates to morning hours. The Rags Multani, Poorvi
and Sri are sung with Tivra - Ma. These ragas are almost sung for a long hour from the

evening upto Night. When the 2nd watch ofNight approaches, the Rag Bihag is used com-
monly. Gradually this rag leads to Su - M ragas. Su - M swara indicates the coming ofdawn

and the ending ofNight. Thus Madhyama is the pivot in bifurcating both the Day and Night

hours. After morning, the Sandhi Prakash ragas follow with two Madhyama combinations.

But the leading Ma in the Morning hour will be Sudha - M only. Ramkali or Lalith is used
to be sung during this hour. This system ofsinging continues till the afternoon and evening.

During the sunset hours the Swaras with Tivra Madhyama shine well. So the swara

'Madhyama' determines the time in the time theory ofragas.

Paramel Praveshik Rag

Paramel Praveshik Rag is Ragas, which may repeat in any other mela other than its

real mela. This type of ragas have the flexibility of shifting from one category of another.

Eg : Rag - Multani

When the singers wants to sing ragas which have use ofGa and Komal Ni, after Sudha

Ri, D combinations, he can sing Rag Jay Jaivath, because Jay Jaivanti Rag is having qualities
ofRe Dha, Sudha and G, Ni with Komal swaras.

88
 SAMAYA RAGAS ACCORDING TO
SOUTH INDIAN MUSIC

Indian Music, in its sojourn in spcace and time may be divided in its historical
perspective into three phases - Ancient, Medieval and Modem. These may be regared ad
ending approximately in the 13th century AD, 18th century AD, and to our own times
respectively. A systematic objective and critical study of the history oflndian Music based
on original source material is still largely a desieratum.

The portrayal of raga forms in all its varied richness and colours was the sole aim of
the Musical Trinity in their own characteristic and individualistic musical expression. The
Trinity evolved their own path, explored in full the possibilities oftheir creative marvels of
raga pictures each with its defined scope and presentation and thus reached the Supreme
God through the medium of music.

The soul of Camatic Music lies in its raga forms. Ragas have distinct personalities,
which could be distinguished and visualised. These raga forms are by their very nature,
incapable ofexact definition. It cannot be taught as poetry. Muthuswamy Dikshithar occupied
supreme position in creating the ideal of depicting raga Bhava steadfastly and brought to
bear the highest imagination in the art and his compositions stand unrivalled as great
monuments of ragas in Camatic Music. Scales exist in innumerable numbers. Ragas must
be created out of them. Tyagaraja is the best lyric composer where as Syamasastri is an
epic composer. Their bent of mind, mode, approach to God, revelation of Bakthi are the
factors of richness. Theme of sahithya is a very important factor to contribute distinctive
modes of presentation ofeven one and the same raga in different phases. Dikshitar's krithis
used to bear the theme meditation and yoga. Tyagaraja's mental experience was diverse in
character and made him depict different rasas and phases ofrasas. He is the master ofthe
topic Raga and Rasa.

89
Carnatic Music

In Carnatic Music the same raga can convey different moods and sentiments
detennined by the context of the composition of krithi. From practical experience he
found that one raga can generate several rasas. The creation of rasa also depends on the
pace (kalapramanam), pitch, stayi, and the tonal quality of the voice. Six different
compositions in raga Kamboji generate several rasas.

From the interesting transformation that has swept aside certain peculiar attitudes,
one could easily see the change in the disposition of the young entrants in their approach to
music. The young aspirants are proud in entering the entertainment business and they go
about it in a clear-headed fashion.

Moreover music students of today have almost exploded the gurukulvasam myth. The
future promises to be interesting, for the younger generation.

Nowadays musicians are called upon to perform at any time of the day. The elaboration
ofTodi raga for nearly 40 minutes is not appropriate for the afternoon. A point to be made
in this case is that for an afternoon concert, the choice ofTodi raga is not quite appropriate,
according to the strict link between raga and time of the day which prevails in Hindustani
Music. More importantly the duration of treatment of the item becomes critical. The
same programme presented before a similar audience at a different place and time of the
night in all likelihood will be received differently.

All India Radio's role in Hindustani Classical Music is no longer as a primary builder
of reputations in Classical Music. The pre-recorded Music market has some natural
advantage over Radio, especially due to the fact that the rasika can bear precisely the Music
he or she wants.

The times have changed, pre-recorded Music offers as much classical music as the
rasika can acquire.

Camatic Music is a veritable ocean, a swaranava, asTyagaraja said.

What about Hindustani Music?The two systems have a common origin and the grammar
is very similar. The raga is the backbone of both systems. When it comes to voice culture

90
and sruthi sudham, especially the tonal purity of not only the basic Sa-pa-Sa but also of all
the intermediate notes taking the ragas for eg: The Carnatic system is much more complex
and scientifically developed, and therefore has a profusion of what is called Janya Ragas.
The other area is the place of sahitya in the Camatic system. In the past two centuries, the
greatVageyakaras have composed literally 1000 of Sahityas, full ofBhakthi or devotion to
their chosen deity, their Ishta Devatas. The Sahitya in the format of a kriti, which is rendered
with progresssive embellishments called Sangathis in tum are designed to bring out all the
beauty of the raga and also enhance the SahityaBhava.

The ragas are the soul or life (prana) oflndian Music. Vidyaranga classifies 15 basic
and 58 subordinate ragas. Some differences of opinion in the methods and divisions of the
ragas were inevitable.

Time-honoured ragas in early times may be termed as Desiya raga, like Kamboji,
Bhouli andBhupali.

Some ragas became obsolete after the time of trinity.

Most of the ragas handled by the Trinity seem to have come into vogue between the
times ofVenkitamakhi and Tulaja.

Desiya ragas are on the basis of regional interpretation like Kapi, Khamas and Kanada.
In classical Camatic Music raga plays a very important and vital role.

Many classifications are given to ragas and they belongs to Marga Sangita. Even
though there are 1000 ragas, many of the ragas have gone out of existence. Certain
ragaswaroopas are unclear today.

Camatic Music is raga and tala based. Just as 'Aham Brahmasmi' of Advaita in a
philosophy which is the culmination of all philosophical thought, raga based Music is the
ultimate in sound architecture.

7 Swaras in 12 pitches (swarasthanas) are the basis of all the Music of the World.
Indian Music has gone a step further and identified 22 sruthis in an octave and enlarged the
scope of raga.

91
 The superiority ofCarnatic Music depends on the greater complexity and the profusion
of ragas, and the appeal of the Kirthis to our hearts as well as to our ears.

Attributes of Good Music

Ragas have characteristic personalities, which must be brought out with the help of
gamakas - tempo and proper timing ofphrases. A Musician can be said to have done justice
ifhe brings out the personality ofthe raga. Dedication, proper training and hard work can
help in the revival of standards.

A slow and relaxed pace lends beauty and grace to the movement of sound. It also
lends diginity and sakthi to the music presented. The duration of a concert is also a vital
factor influencing the quality ofmusic in concerts. The general tendency in concerts today
is to rush through all segments ofa kriti, rag alapana, niraval and swara presentation. This
overspeed neglects the very purpose ofgood music, which is to bring forth something that
is aesthetically beautiful.

There used to be one performance a day. Even veena and violin performers were
heard with rapt attention by a disciplined and interested audience. There was no microphone
or loudspeaker. As time went on, performing musicians multiplied. The duration ofa concert
came down to two hours and half or even less. With a number of krithis and other
compositions included in each presentation. There was little scope for leisurely delineation
of ragas or compositions, or for 4 Kalai pallavis.

Every raga can be divided into a number of phrases or Sangatis which when sung
together reveal its personality or its 'Raga Bhava'. Every phrase must be rendered at a
speed suited to the composition neither slower nor quicker. The Sangatis must also be
rendered with proper gamakas. Slow paced phrases offer a lot of scope for rendering the
various gamakas with telling effect. Musicians who have a thorough grasp ofthe various
gamakas will be able to generate Raga Bhava. Plain sancharas, swara combination are also
used during rag alapana. Some ofthe plain swaras ifrendered within anuswara phrase lend
fullness and weight. Every Sangati in rag alap has got its own kalapramana. Any disturbance
of their pace will alter the shape of the sangati and its musical effect.

92
 The various aspects of raga alapana must also be done with proper punctuation, for
best results. The minute time paces between Sangathi 's constitute punctuation. Picking up
6 or 7 swaras on a straight or curved pathway at a time and enriching them with microtones
and semitones give the raga system a lot of scope for producing a variety of sound pitches.

The alap of Raga is an important factor in music. The musician must plays in a recital,
endeavour to chisel out in every item the swaroop of the raga concerned. In all the items
especially in a krithi consisting of raga alapana, kriti, niraval and swara, the personality of
the raga must dominate. A mere sketch will not do, if the swaroopa is presented in all its
grace and beauty it is good Music. Vaggeyakaras like Tyagaraja, Muthuswami Dikshithar
etc. endeavoured to present several aspects of the ragas through their kritis.

A kriti is nothing but a raga interpreted with the help of sahitya within the framework
of rhythm. Raga alapana is not unlike the presentations of a glimpse of the ocean itself.
Elaboration of a small stretch of sahitya to bring out raghabhava is Niraval. Swarakalpana
highlights the various swarasanacharas with which the raga swaroopa is constructed in the
sunrise samay. Bhowli Raga is most suitable for playing in veena on this samay.

There are ragas which can be classified according to seasonal, occasional, emotional
and devotional aspects.

The Seasonal Ragas denote 6 seasons of nature. According to this certain ragas are
basically chosen for particular seasons.

Occasional ragas, most commonly known as Samay Ragas, are counted within the 24
hours of a day. The 12 hours at the beginning of the day are called as Day break and the
remaining 12 hours are known as Sandhi Prakash.

Emotional songs are commonly based on 9 rasas or Nava rasas. The emotional aspect
much influences a raga and it gives colour to a Raga.

Devotional aspects

Devotional aspects about a raga or the specialisation on their study of this field need
greater care particularly to research students. A true devotee of God only can make miracles.

93
One should practise severe Bhakthi Marga and then only he attains high peaks and gets
God's blessings.

Ragavela of certain Ragas

Morning Ragas (4 AM to lOAlVQ

Name ofRaga The Rasa Produced Timing - Effect

Bhoopalam Albutham SAM

Kedaram Joy SAM

Marga Hindolam Bhakthi SAM

Mukhari Karuna 4AM

Ramapriya Shanta SAM

Pasupathi Priya Ananda 6AM

Jagan Mohini Veera 4AM

Bhooshavali Albutha SAM

Rudragandhari Bayanakam 3AM

(41 st) Vijayasree Irirating SAM

(40th) Nabomani Roudram 7AM

Nadanamakriya Bhakthi SAM

Punnagavarali Bhakthi 7AM

Hindolam Peace 8AM

Abogi Bhakthi 8 to lOAM

Malayamarutam Embracing 7AM

Bilahari Courage 8AM

Bouli Peace 6AM

94
 Varunapriya Shantham 4AM
Arabhi Roudra 4AM
Auspecious

Ritigoula Hasyam 6AM

Hemavathi Shantham 9AM
Vijaya Nagari Veera 4AM
Vagadeeswari Karuna 8AM
GUljari Roudra 9AM
Denuka Joy 8AM
Hamsanandhi Ananda 7AM

Jayanathasree Karuna 4AM

Malahari Bayam 8AM

Mayamalavagoula Karuna 5AM

Kapinarayini Love 9AM

Sourashtram Joy 7AM

Forenoon Ragas (10-12 Noon)

Saranga Wonder Noon

Sreeranjini Energetic Noon

Simhendramadyam Veera lOAM

Tarangani Albutham lOAM

Saraswathy Manohari Veera HAM

Shanmughapriya Karuna lOAM

95
 After noon Ragas

Hamsadwani Hasyam 1 to 4 PM

Ahiri Veera 2PM

Malavasri Sringara 2PM

Madyamavati Bhakti 1 PM

Sunadavinodini Bhakti 2PM

Lathangi Veera 2PM

Purvikalyani Auspicious } 3PM

Albutham

Jhanakaradwani AngJ.}' 2PM

All Janyas of 17th suits after noon.

Evening Ragas

Gamdadwani Veera 4PM

Brindawanasaranga Sringara 5PM

Renjini Rekthirag 6PM

Kapi Multiple 6PM

Dannavathi Albutha 5PM

Manthari Veera 5PM

Gambeeravani Veera 5PM

Vandanadarini Joy 6PM

Suruti Love 6PM

Andali Sringaram 6PM

96
 Mohanam Joy/laughter 6PM

Mohanakalyani Energetic 5PM

Adana Roudra 7PM

Sandhya Ragas

Shankarabharanam Veeram During Sunset

Abheri Sringara 6-7 PM

Bhairavi Bhakthi (love) 6-7 PM

Hamsandam Veera 6-7 PM

Nadaswaroopi Bayanakam 6PM

Night Ragas

Hamsabhooshini Sringara 8PM

Gouri Manohari Bhakthi 8PM

Charukesi Sringara 9PM

Neelambari Shantha 9PM

Khamboji Karuna IOPM

YadukulaKhamboji Sringara IOPM

Hari Khamboji Calm IOPM

Vasantha Ca1mIPeace 9PM

Valachi Veera IOPM

Kuntalavarali Hasyam 9PM

Chandra Jyoti Shanta 9PM

97
 Sarvakalika Ragas

Raga Rasa Raga Rasa

Manavathi Bhakthi Binnashadja Hasyam
Ananda Bairavi Auspecious Rupavathi Irritating
Amritavahini Bhakti Vakulabaranam Shanta
Kiravani Peace Kharaharapriya Peace

Gouli panthu Calm Kanada Sringara

Kannada Goula Sringara Sarasangi Shanta

Sindhu Ramakriya Bibalsa

Chakravakam Soka Mararenjini Veera

Kalavathi Veera Darbar Veera

Suryakantha Bhakthi Kalayanavasantham Soka

Jhankaradwani Hasya

Natabairavi Hasya Navarasakannada Albuta

Useni Love Kalyani Bhakthi

Sindu Bhairavi Bhakthi Revathi Santa

Peelu Santha

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 KARNATIC

Equivalent (and Near - Equivalent) Ragas in Hindustani and

Carnatic Music

The Hindustani equivalent of a mela is called a that. All Hindustaani ragas are
classified under IO thats. Names in brackets are mela names. The thats are as follows:

I. Kalyani (mechakalyaani)

2. Bilaaval (Dheera Shankarabharanam)

3. Khamaaj (Harikambhoji)

4. Bhairav (Maayamaalava Gowla)

5. Bhairavi (Todi)

6. Asavari (Natabhairavi)

7. Todi (Shubhapantuvarali)

8. Poorvi (Pantuvarali)

9. Marva (Gamanashrama)

10. Kafi (Kharaharapriya)

What follows is a Time Table of ragas, which are the scales in Indian Music, or
the set of notes used in any given piece.

First is the Hindustani (North Indian) raga, followed by its equivalent I near equivalent
raga in camatic music. For each raga, the that and the melakarta or mela scales, notations
of the main or raga from which the derivative or janya raga is formed, are also given.

Where camatic ragas are separated by a slash, the first raga is aroha (ascending
scale) and the second raga is the avaroha (descending scale).

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That Hindustani Raga Mela Carnatic Raga Performing
Time

10 Abhogi kanada 22 Aabhogi Morning

1 Adbhut ka1yan 29 Nirosta Anytime

2 Alahiya bi1ava1 29 Bi1ahari Morning

9 Ambika 59 Dharmavati Evening

6 Asavri 20 Natabhairavi Morning

2 Audhava bilava1 29 Lalita Evening

10 Bageshri 22 Bageshri Night

10 Bahar 22 Kanada Night

4 Bairagibhairav 2 Revati Morning

2 Behag 29 Behag Night

4 Bhairav 15 Mayama1avagau1a Morning

5 Bhairavi 8 Sindhubhairavi Anytime

2 Bhatiyari 28 Chayatarangini, Sama Afternoon

2 Bhimapa1asi 20 Bhimp1as, Afternoon

Karnatakadevagandhari

I Bhupa1i, Bhup 28 Mohana Evening

1 Bhupka1yan 65 Mohanaka1yan Evening

4 Bibhas 15 Bibhasu, Bauli Morning

2 Bilaval 29 Dhirashankarabharana Morning

Shankarabharanam

10 Brindavanisarang 22 Puspalatika Afternoon

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3 Campak 28 Balahamsa Forenoon

1 Chaya 29, 65 Begada I Saranga Forenoon

3 Desh 28 Desh Evening

3 Deshaksi 28 Bilahari Morning

10 Dhanashri 22 Kamatakadevagandhari Forenoon

(Bhimpalas anga)

5 Dhanashri 8 Dhanyasi Afternoon

(Todiianga)

6 Darbarikanada 22 Darbarikanada Anytime

2 Durga 29 Shuddhasaveri, Night

Mayuradhvani

1 Hamirkalyan 65 Hamirkalyani Night

2 Hamsadhwani 29 Hamsadhwani Evening

I Hamskalyan 29/65 Hamsadhvani/Kalyani Evening

2 Hemkalyan 29 Begada Forenoon

1 Hindol 65 Sunadavinodini Afternoon

Sanjh

10 Jaijaivanti 22 Dvijavanti, Jijavanti Night

10 Jayant 22 Jayantasena

6 Jivanpuri, J onpuri 20 Jonpuri, Shuddhadesi Morning

10 Jhinjoti 28 Jinjuti Night

4 Jogiya, Gunakri 15 Saveri Morning

3 Kalavati 16 Valaji Night

IOI
4 Kamalamanohari 27 Kamalamanohari Morning

8 Kusumaranj ini 15 Gaulipantu Morning

4 Lalitpancham 15 Lalitpanchama Mid night

10 Madhmadsarang, 22 Madhyamavati Afternoon

Madhyamadisarang

10 Madhuranjani 36 Gambhiranata Forenoon

22 Shuddhadhanyasi

9 Madhuvanti 59 Dharmavati Afternoon

5 Malkauns 20 Hindola Morning

1 Malarani 60 Hamasanada Sandyasamay

6 Malkali 20 Jayantashri Night (Late)

2 Mand 29 Mand Anytime

3 Nagasvari 28 Nagasvarali Afternoon

3 Narayani 28 Narayani Forenoon

4 Natbhairav 27 Sarasangi Morning

3 Natakuranji 28 Natakurunji Evening

10 Palasi 22 Puspalatika Forenoon

Rudrapriya

5 Pancham Malkauns 20 Jayantashri Morning

9 Paraj 15 Paraju, Night

Paras

10 Pilu 22 Pilu Anytime

9 Puria 53 Hamsanandini Evening

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9 Puriadhanshri 51 Kamavardhini Evening

8 Purvi 51 Kamavardhini Afternoon

9 Purvakalyan 53 Purvikalyani Evening

3 Pratapavarali 28 Pratapavarali Anytime

3 Rageshri 28 Ravichandrika Night

1 Sarasvati 64 Sarasvati Late evening

4 Saurastrabhairav 17 Saurastra Morning

10 Shahana 22 Shahana Night (late)

10 Sindhura 22 Salagabhairavi Anytime

1 Shrikalyan 64 Sarasvati Late evening

2 Shuddha bilaval 29 Shankarabharana Morning

1 Shuddhakalyan 65 Mohanakalyani Evening

9 Sohini 53 Hamsanandi Morning

3 Sorat 28 Surati Evening

3 Suhakanada 28 Pushpalatika Evening

3 Tilakkamod 27 Nalinakanti Night

3 Tilang 30 Tilang Evening.

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