The Time theory of Raags is an ancient theory. Every Raag has a three-hour time slot in the day. One slot is called a “Pehar”. There are 8 Pehars in a 24 hour day. A Raag performed in its time slot has the most effect on the listener and the performer. Through the ages though, many Raags have been modified, and their allotted time slots do not match with their flow of notes. This incompatibility has created a lot of confusion about this theory. However, if a student knows the basics of the Time Theory, the proper alterations can be made.
At first look, the time theory of Raags alludes many. It seems random, there are formulas however. It is directly connected to the notes used in a Raag. Every Note, when used with certain other notes, has a different effect. That creates certain moods. Based on that, we can divide Raags into three categories:
1. Raags with ‘Komal’ ‘Re’ and ‘Dha’ (second and sixth flat)
2. Raags with ‘Shudh’ ‘Re’ and ‘Dha’ (second and sixth natural)
3. Raags with ‘Komal’ ‘Ga’ and ‘Ni’ (third and seventh flat)
1. Raags with Komal ‘R’ and ‘D’ (second and sixth flat)
These Raags are called ‘Sandhi-prakash’ (dawn/dusk or twilight) Raags. As the name suggests, these Raags are sung in the early morning and early evening. ‘Ma’ (the fourth) note plays a very big role to separate the morning Raags from the evening Raags. In the morning Raags, ‘Ma’ is usually natural and in the evening Raags it is usually sharp. Another thing to remember about these Raags is that the third note (‘Ga’) is always natural. If ‘Ga’ is flat, then the Raags will go in the third category. Importance of Komal ‘Dha’ (sixth) is not as high as Komal ‘Re’. If ‘Re’ is Komal and ‘Dha’ is natural, the Raag will still come under this category. But if it is the other way around, then it will go to the second category.
2. Raags with ‘Shudh’ ‘Re’ and ‘Dha’ (second and sixth natural)
These Raags are sung right after the ‘Sandhi-Prakash (twilight) Raags. So their time slot is around 7-10 a.m. and p.m. Again these Raags must have a Shudh ‘Ga’ (third natural), otherwise they will go under the next category. ‘Ma’ (fourth) plays a big role in these Raags too. The same rule applies here, the ‘a.m.’ Raags have natural ‘Ma’ and the ‘p.m.’ Raags have Tivar ‘Ma’ (fourth sharp).
3. Raags with Komal ‘Ga’ and ‘Ni’ (third and seventh flat)
These Raags have the next time slot in both day and night. In these Raags, the position ‘Re’ or ‘Dha’ does not matter. However, these Raags must have Komal ‘Ga’ (third flat). Importance of komal ‘Ni’ (the seventh) is not as high as the position of the ‘Ga’ (third).
The above categorization is very useful to memorize a Raag’s appropriate time. As I stated earlier, this division is not perfect though. Indian music theory is over 5000 years old. Along the way it has acquired its fair share of exemptions. There are a few other things, which may or may not overrule the above categorization. Raag ‘Yaman’ (name) is an evening Raag. Nevertheless, it is always the first Raag in a performance, regardless of the time of the day. Similarly, no matter it is day or night, Raag ‘Bhairavi’ (name) is the last Raag performed. A few other Raags occupy bigger than a 3-hour time slots and a few are only sung during a special season. Read more about this in the next post.