Since no musicologist of the past gave any convincing and rational explanation for the prescribing the raaga-time association, it was left to Pandit Vishnu Narayan Bhatkhande to explain the rules on this subject generally observed by Hindustani musicians. A day of 24 hours is divided into two - the diurnal and nocturnal halves. Of these, the Dinegeya or Suryamsa raagas (diurnal) are rendered during the day, and the Ratrigeya or the Chandramsa raagas are rendered during the night. The time punctuating the finish of day and the commencement of night is sandhi, and the raagas of this hour are called the sandhiprakash raagas or the raagas rendered during the twilight time; while those sung at the conclusion of night and the beginning of morning are called pratah-sandhi raagas.
The day is divided into eight praharas or quarters/watches, each lasting for three hours. Of the eight praharas, five belong to the day and the other three to the night. The raagas in each of these praharas are classified on the basis of the notes prominent in each. There are some empirical rules of the thumb framed by Pandit Bhatkhande with regard to the assignation of raagas to the various praharas. Those raagas whose stress falls on the lower tetrachord (poorvanga) - from sa to pa - are to be rendered during the late afternoon, early evening and the early part of the night. While those in which the upper tetrachord (uttaranga) - from ma to sa - is stressed, are rendered during the last watch of the night, past midnight, and also the wee hours of morning. The break of day starts off the first watch.
The pre-dawn watch, which begins at 3 a.m. and lasts until 6 a.m., is the time for the raagas in which komal rishabh and, at times, komal dhaivat appear prominently. These are uttaranga-dominated raagas. The emphasis on the upper tetrachord during the waking hours could be interpreted to signify the note of longing for light or summons to prayer. The raagas also symbolically connote the convergence of light and darkness, sleep and wakefulness, associated with the brahma-muhurta, for example, Sohini, Lalit, Bhatiyar, Kalingda.
The first prahara of the day begins at 6 a.m. and ends at 9 a.m. This is the time for those raagas in which komal rishabh and komal dhaivat occurs along with shuddh rishabh and dhaivat, for example, Bhairav, Ahir Bhairav, Ramkali, Gunakali and Bhairavi, the various forms of Todi like Mian ki Todi, Deshi Todi, Bilaskhani Todi and the Bilawal group of raagas like Allaiya Bilawal, Devgiri Bilawal. There is a palpable devotional awe and a `prayerful` note in many of these raagas, especially in the Todi and the Bhairav groups when they are being elaborated in the lower register in slow tempo. The well-known bandishes in these raagas reinforce this characteristic.
The second prahara of the day lasts from 9 a.m. to noon. Many of the morning raagas sung at this time figure in the first prahara, so the note configuration stays the same. The late morning raagas such as Jaunpuri as also the Asavari and the Bilawal group of raagas are rendered during this time. Also figuring in this watch are Deshkar and Sughrai. The sun is, at this point of time, luminously prominent and thus raagas like Jaunpuri and the Bilawal group brim with the hectic activity and radiant energy associated with the intensification of the sun on the horizon.
The third prahara lasts from noon to 3 p.m. Raagas in this watch accentuate komal rishabh, komal gandhar or komal nishad, example, the raagas belonging to the Sarang group - Brindavani Sarabg, Shuddh Saarng and Gaud Sarang. There is an atmosphere of iridescent lushness about these raagas, evoking at once the cool splendour of a bower or the shade of bunches of broad-branched tress on a hot noon. It is worth noting that the number of raagas rendered during this prahara come down significantly, given that activities wind down during this time of the day with soaring temperatures.
The fourth prahara and concluding portion of the day lasts from 3 p.m. to 6-7 p.m. The late-afternoon raagas belonging to this group like Bhimpalas, Dhani, Patdeep, Dhanashri and Multani stress komal gandhar or komal nishad. These raagas are generally rendered before 5 p.m. They are languidly sensuous raagas, especially Bhimpalas, evoking the pleasurable and sated atmosphere of a late-afternoon siesta at a time when the sun is at its peak. The appearance of tivra madhyam in Multani signals the entry of early dusk. The ardent agitation and restlessness of the raaga evokes the anxiety related to the setting of the sun and the slow fading of light.
The raagas sung after 5 p.m. until before 7 p.m., the time of sundown, are called the sandhiprakash raagas. They have the same note configuration as the raagas occurring in the first prahara; the only difference is the emergence of the tivra madhyam along with komal rishabh and komal dhaivat, as in Marwa, Shree, Poorva, Jaitashri amd Poorvi. The setting of the sun, the fading of light and the anticipation of darkness bring the mind, as with dawn raagas, once again to the transitional zone between light and darkness. The raagas of this period convey, as with all sandhiprakash raagas, conflicting emotions related to restless yearning and contemplative quiet.
The first prahara of the night begins around 7 p.m. and lasts until 9 p.m. The raagas of this watch have shuddh dhaivat, rishabh and gandhar. All raagas belonging to the Kalyan group occur in this watch, example, Yaman, Shuddh Kalyan, Shyam Kalyan, Chayanat, Bhoopali, Hamir and Kedar. These raagas emanate an atmosphere of sense of serene bliss, associated with the winding down of the day`s activities.
The second prahara of the night begins at 9 p.m. and ends at midnight. The raagas of this watch have komal nishad and komal gandhar, example, Jaijaiwanti, Bihag, Shankara, Durga, Baheshri, rageshri. The raagas of this quarter radiate the enchanting darkness and the radiant amorousness associated with the early and later part of night. A good number of raagas in this group are `romantic` in ambience and import.
The third, and the last prahara of the night lasts from midnight until 3 a.m. The raagas in this slot use the same notes as those in the previous one. Some of the deep, expansive and majestic raagas of the night like Darbari, Malkauns, kaushi Kanada and other forms of Kanada come in this watch. These raagas emanate the enigma of the deep blue stretches of nocturnal darkness, the hush and the grandeur of cosmic vastness.
Both the morning and the early evening raagas share a fairly identical combination of notes. The major difference is that the morning raagas use shuddh madhyam, while the sandhiprakash raagas of the evening use tivra madhyam.
Besides the time-bound raagas, there are raagas associated with seasons. But unlike the time-bound raagas, the seasonal associations are not so rigidly adhered to. Basant and Bahar, the raagas associated with spring, and the Malhar group associated with monsoon, can be sung during the second prahara of the night. Raagas like Desh and Maand enjoy a flexible temporality. Though a morning raaga, Bhairavi usually forms the concluding piece in a late evening concert. Here precedence wins over habit.
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