SARNAVO PREETISH
Samay Chakra and Ragas
In Hindustani Classical Music , each raag is rendered only at a specific time . The time of the raag depends on the ‘ Vadi Swar ’. This is so as each raag is more effective if performed at a particular time . It is supposed to enhance the bhava of the raag that the artist is responsible for evoking .
But some raags are seasonal in nature called Ritu Raag . For example , raags that belong to the Malhar category can be sung at any time during the monsoon season . These Ragas can be sung at any part of day in that season . Vadi , in both Hindustani classical music and Carnatic music , is the root swar of a given raga . “ Vadi ” is the most important swar of a Raga . It does not refer to the most played swar , but it rather refers to a swar of special significance . It is usually the swar which is repeated the greatest number of times , and often it is the swar on which the singer can pause for a significant time . Vadi swar in a raga is like a king in a kingdom . Ragas is associated with a time of day . Here is the “ Raga Samay Chakra ”, or “ Raga Time Wheel ” a 24-hour clock that determines what time of day is best for each raga . Nature of a Raag , the timings of a singing a particular Raag can be understood by the Raag Samay Chakra . Times correlate to ragas because our voice ’ s natural range changes throughout the day . For example , Bhairav is good in the early morning , like 6 AM , because our vocal register is low .
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Raga Samay Chakra Although there are many exceptions to this theory , but generally it is believed that time of singing a Raag decides its nature or the mood that it is trying to express . According to Time theory Rules of Hindustani classical music , all ragas can classified in three category . 1 . Ragas with komal Re and Dha notes- Ragas sung or played at sunrise and sunset are known as Sandhi Prakash ragas . This raga is sung / played between 4a . m . to 7a . m with shudh Ma ( Bhairav thaat ragas ) and 4p . m . to 7p . m with Tevera Ma ( Porvi thaat Ragas ).
1 . Ragas with shudh Re and Dha notes- Early morning ragas which follow the performance time of Sandhi Prakash ragas that is 7a . m . to 10a . m and 7p . m . to 10p . m . Ragas from Bilawal , kalyan and khamaj thaat are some examples of this category .
1 . Ragas with komal Ga and Ni notes- Ragas from remaining thaat fall in this category for example Raga from Todi , Bhairavi , kafi , Ashavari thaat . These ragas sung for 10a . m . to 4p . m and 10p . m . to 4a . m . just before Sandhi Prakash ragas .
According to another theory the 24 hours of a day are divided into 2 parts : 1 . From 12 AM to 12 PM - This is called “ Poorva Bhaag ” and raags sung in this period are called “ Poorvang Raags ”.
2 . From 12 PM to 12 AM - This is called “ Uttar Bhaag ” and the raags in this period are called “ Uttarang Raags ”.
The part of the saptak from Sa to Ma ( Sa Re Ga Ma ) is called “ Poorvang ” ( earlier part ) of a raag and from Ma to taar saptak Sa ( Pa Dha Ni Sa ) is called “ Uttarang ” ( later part ) of the raag .
• Poorvang Vadi Raag-The raags in which the vadi swar lies in the poorvang are called poorvang vadi raag . These raags are rendered in the poorva bhaag of the day that is 12 AM to 12 PM .
• Uttarang Vadi Raag -The raags in which the vadi swar lies in the uttarang are called uttarang vadi raag . These raags are sung in the uttar bhaag of the day that is 12 PM to 12 AM .
So , if we know a vadi swar of the raag we can estimate time the raag will be rendered .
In modern time it ’ s difficult to follow time theory of Ragas due to different constraints like concert time or recording time , still if any raag is performed in its proper allotted time it leaves its own impact on the singer as well as listeners .