The Timeless Art of Raga: How Notes and Hours Shape Hindustani Classical Music

 

The Timeless Art of Raga: How Notes and Hours Shape Hindustani Classical Music

 

Introduction: The word Raag comes from the Sanskrit word “Ranj”, meaning to colour or to delight, therefore it can be said that raag is that which ‘colours the mind’. It has been defined in the Vedas as “रञ्जयति इति रागः" (Ranjayati iti Rāgaḥ)”. Thus, a raga is more than a scale, it’s a melodic framework designed to color the mind and evoke specific emotions. Each raga consists of a specific set of swaras (notes), which are selected and arranged in a way that creates a unique mood or rasa. The major moods that can be produced by a Raag are: Shaant (serenity), Shringaar (love or romantic), Bhakti (devotion to God) and Veer (bravery). A raag typically consists of: Aroha (ascending pattern of notes), Avaroh (descending pattern), Vadi Swar (most prominent note), Samvadi Swar (second most prominent note), Pakad (a short phrase that captures the essence of the raga) and Jati (number of notes used i.e. Audav (5), Shadav (6), Sampooran (7))

Historical Background: The concept of raga finds its earliest mentions in the Natya Shastra (200 BCE), written by Bharata Muni. However, the system was further elaborated in medieval texts like Sangita Ratnakara by Sharngadeva in the 13th century. Over centuries, as music evolved through regional and spiritual influences, especially during the Bhakti and Sufi movements, the number and complexity of ragas expanded. The Gharana system also contributed to the interpretation of ragas. Each musical lineage had its unique approach to developing and presenting ragas, enriching the tradition and allowing multiple perspectives on a single raga.

The Time Theory of Ragas: Hindustani classical music encompasses a riveting concept known as “Samay Siddhant” or raga time theory quite deeply in its tradition. Ragas get split into distinct time slots for being performed at morning, afternoon, evening or under cover of night pretty much always. This tradition isn't just something people do and it's rooted deeply in science related to psychology and sound. Each raga possesses a deeply emotional essence and human minds are far more susceptible to specific feelings at particular point of time.

For example: Raga Bhairav usually gets sung pretty early in morning hours evoking tons of calm and deep introspection. Raga Yaman richly embodies romance and is sung mostly in evening creating a profound feeling of warmth and deep devotion within listeners. Raga Darbari suits extremely late-night hours pretty well with its deep meditative mood, echoing stillness around midnight. Powerful synergy unfolds between music, mind and fleeting moment as this time-sensitive system helps performer and listener sync with nature's rhythm.

How Swaras Shape the Emotional Essence of a Raga: In Hindustani classical music, the seven swars are far more than just musical pitches. They are carriers of rasa (emotional flavor), and their selection, treatment, and positioning within a raga determines its bhaava (expression), prakriti (nature), and chhavi (musical image).

Each raga is a melodic framework that uses specific swaras in the Aroha and Avaroha highlighting Vadi and Samvadi swars. These notes, and how they are ornamented help resolve and shape the raga’s psychological and emotional impact.

Types of Swaras and Their Emotional Impact:

• Shuddha swaras (pure or natural): These are stable and neutral in expression, often forming the base of peaceful or devotional ragas.
• Komal swaras (flattened): Re, Ga, Dha, Ni when rendered komal produce karuna (compassion), shoka (grief), or viraha (separation). For instance, Komal Re and Komal Dha in Raga Bhairavi create a melancholic, reflective mood.
• Tivra swara (only Ma): The sharp Ma (Tivra Ma) lends brightness, tension, and spiritual intensity. Raga Yaman, known for its romantic and serene mood, uses Tivra Ma as a central feature.

Swara Choices and Mood:

• Ragas that omit Pa (such as Raga Malkauns) lose the natural stability Pa offers, resulting in an open, mysterious, or meditative feel.
• The inclusion of both Komal and Tivra swaras (e.g., in Raga Lalit, which uses both Shuddha Ma and Tivra Ma) can create emotional complexity and tension that is deeply engaging.

Ornamentation and Expression:

How a swara is approached and treated also known as alankaar, adds expressions:

• Meend (glide) creates a flowing, emotional quality, ideal for expressing longing or tenderness.
• Gamak (heavy oscillation) adds power, drama, or devotion, especially in ragas like Darbari or Todi.
• Khatka (quick grace notes and flicks) can introduce excitement, urgency, or playfulness, often used in semi-classical genres like Thumri or Dadra.

Interpretation and Variation:

Because of the flexibility in ornamentation and phrasing, two artists may interpret the same raga very differently, one might emphasize pathos, while another explores romanticism or heroism — all depending on the swar treatment, tempo (laya), and improvisation (vistar and taans).

Why This Matters to the Listener: For the listener, knowing the time and emotional essence of a raga enhances the musical experience. One doesn’t just hear the music but feel it. A morning raga can energize your day, while a late-night raga may calm your restless thoughts. For the artist, honoring the time theory and swara structure allows them to communicate deeply, authentically, and in harmony with the universe’s natural flow.

Conclusion: Raga is not just a set of notes or a musical scale, it is a living, breathing expression of mood, time, and soul. Its ancient origins, precise structure, and sensitivity to time make Hindustani classical music not just an art form, but a form of meditation and connection with the divine.