To start with, it is important to understand that in my opinion there is a connection between sound and light. I believe that the time theory of ragas would be based on this concept. Without getting technical, I would divide the time zones during which particular identified ragas could be / should be played, would depend upon the intensity of sunlight. In other words, i.e. the angle at which the Sun’s rays are touching the ground. To explain further, when night ends and morning starts, there is a period when the Sun has not yet arisen, but there is ujala (light) – this section is known as dawn. In technical language, it is known as sandhiprakash samay. Similar period exists in the evening, when the Sun has gone down (dusk) but there is still some visibility (light). This period is also known as sandhiprakash samay. It is believed that both these periods are very sensitive, during which specific recommended ragas should be played / sung. Hence I would divide the time zone in the following manner:
a. Early morning – sandhiprakash samay prior to 5 / 6 am: Bhatiyar, Bhankar, Kalingda, Lalit etc.
b. When the Sun has just risen and its rays are very soft – 6 am to 9 am: Ahir Bhairav, Bhairav, Bhairavi, Bilaskhani Todi etc.
c. The Sun has risen farther and the rays are projected with an angle of 45 degrees from the earth – 9 am to 11 am: Jaunpuri, Desi Todi, Gujari Todi etc.
d. Further period would be when the Sun’s rays become more intensive at an angle between 45 to 70 degrees – from 11 am to 1 pm: Alhaiya Bilawal etc.
e. Further period could be when Sun’s rays are between 70 to 90 degrees from the earth (noon time) – from 12 pm to 3 pm: Gaud Sarang , Shuddha Sarang, Brindavani Sarang, Madhmadh Sarang etc.
f. When the Sun starts going down and the rays are at an angle between 90 to 120/150 degrees – from 4 pm to 6 pm: Bhimpalas, Kafi (and its prakars), Khamaj, Madhuwanti, Multani, Patdeep, Pilu, Puriya Dhanshree, Barwa, Marwa etc.
g. The Sun has gone down completely but the darkness has not yet set in. This would be the sandhiprakash or twilight zone – from 6 pm to 7 pm: Shree, Gauri etc.
h. After around 6-7 pm, when the night period starts and the identified time zone could be from 6-7 pm to 9 pm: Bhupali, Yaman, Shyam Kalyan, Gorakh Kalyan, Hansadhwani, Jaijaiwati, Kalawati, Puriya, Maru Bihag, Milya Malhar (can be played anytime during monsoon season), Desh, Jhinjhoti, Jog etc.
i. The last zone would be from 9 pm upto midnight – extended upto dawn in the morning: Abhogi Kanada, Bageshri, Rageshree, Bihag, Darbari Kanada, Kedar, Malkauns, Chandrakauns etc.
Notes:
A. In a seminar held sometime back, there was a general opinion that flexibility of 3 to 4 hrs could be given in observance of time theory, especially, as concerts are held in the evening and very rarely in the morning. There was a time when concerts started (in many cities) around 9.30 pm and went on until early hrs of morning. This gave scope to play late night or early morning ragas.
B. I have listed about 50 ragas which students may be actually playing / receiving taleem for. Amongst this, there are some ragas which the professional (very senior) students are playing / could play.
14. Could you advise on the set of 5/6 ragas as applicable to be performed during each prahar (block of 3 hours)?
Could you advise on the set of 5/6 ragas as applicable to be performed during each prahar (block of 3 hours)?