Rāga (Sanskrit, lit. "colour" or "mood") refers to melodic modes used in Indian classical music. It is a series of five or more musical notes upon which a melody is made. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. Indian classical music is always set in a rāga. Non-classical music such as popular Indian film songs or ghazals sometimes use rāgas in their compositions.
The word "raga" first occurs in the Brihaddeshi of Matanga (circa second century AD or 5th to 7th century), where he describes it as "a combination of tones which, with beautiful illuminating graces, pleases the people in general". The term raga was defined by Joep Bor of the Rotterdam Conservatory of Music as "tonal framework for composition and improvisation." Nazir Jairazbhoy, chairman of UCLA's department of ethnomusicology, characterized ragas as separated by scale, line of ascent and descent, transilience, emphasized notes and register, and intonation and ornaments.
Rāgini is an archaic term for the 'feminine' counterpart to a rāga.
Nature of rāga
"That which is a special dhwani (tune), is bedecked with swara (notes) and varna and is colorful or delightful to the minds of the people, is said to be rāga" - Matanga in the Brihaddeshi. The basic mode of reference in modern Hindustani practice (known commonly as the shuddha - basic - form) is a set which is equivalent to the Western Ionian mode — this is called Bilawal thaat in Hindustani music (the Carnatic analogue would be Sankarabharanam). In both systems, the ground (or tonic), Shadja, Sa, and a pure fifth above, Pancham, Pa, are fixed and essentially sacrosanct tones. In the Hindustani system, in a given seven-tone mode, the second, third, sixth, and seventh notes can be natural (shuddha, lit. 'pure') or flat (komal, 'soft') but never sharp, and the fourth note can be natural or sharp (tivra) but never flat, making up the twelve notes in the Western equal tempered chromatic scale (Western enharmonic pitch equivalences like, for example, A♯ and B♭ do not apply; e.g. Re tivra may, to a Western musician appear enharmonic to Ga shuddha in that system, but in practice is not.) A Western-style C scale could therefore theoretically have the notes C, D♭, D, E♭, E, F, F♯, G, A♭, A, B♭, B.
The Carnatic system has three versions — a lower, medium, and higher form — of all the notes except Sa, Ma and Pa. Ma has two versions (lower and higher), while Sa and Pa are invariant. Rāgas can also specify microtonal changes to this scale: a flatter second, a sharper seventh, and so forth. Tradition has it that the octave consists of (a division into) 22 microtones ("śrutis"). Furthermore, individual performers treat pitches quite differently, and the precise intonation of a given note depends on melodic context. There is no absolute pitch (such as the modern western standard A = 440 Hz); instead, each performance simply picks a ground note, which also serves as the drone, and the other scale degrees follow relative to the ground note. The Carnatic system embarks from a much different shuddha (fundamental) scalar formation, that is, shuddha here is the lowest-pitched swara.
By comparison, using the common tonic "C" for a western musician:
Carnatic
Hindustani
Western E.T.
Sa
Sa
"C"
Shuddha Ri
"Ri 1"
Komal Re
"D♭"
Chatusruti Ri
"Ri 2"
Shuddha Re
"D"
Shatsruti Ri
"Ri 3"
(Komal Ga)
"D♯"
Shuddha Ga
"Ga 1"
(Shuddha Re)
"D"
Sadharana Ga
"Ga 2"
Komal Ga
"E♭"
Antara Ga
"Ga 3"
Shuddha Ga
"E"
Shuddha Ma
"Ma 1"
Shuddha Ma
"F"
Prati Ma
"Ma 2"
Teevra Ma
"F♯"
Pa
Pa
"G"
Shuddha Dha
"Dha 1"
Komal Dha
"A♭"
Chatusruti Dha
"Dha 2"
Shuddha Dha
"A"
Shatsruti Dha
"Dha 3"
(Komal Ni)
"A♯"
Shuddha Ni
"Ni 1"
(Shuddha Dha)
"A"
Kaisika Ni
"Ni 2"
Komal Ni
"B♭"
Kakali Ni
"Ni 3"
Shuddha Ni
"B"
Rāgas and their
seasons
Many Hindustani (North Indian) rāgas are prescribed a time of day or a season. When performed at the suggested time, the rāga has its maximum effect. During the monsoon, for example, many of the Malhar group of rāgas, which are associated with the monsoon and ascribed the magical power to bring rain, are performed. However, these prescriptions are not strictly followed, especially since modern concerts are generally held in the evening. There has also been a growing tendency over the last century for North Indian musicians to adopt South Indian rāgas, which do not come with any particular time associated with them. The result of these various influences is that there is increasing flexibility as to when rāgas may be performed.
Notations
Although notes are an important part of rāga practice, they alone do not make the rāga. A rāga is more than a scale. Many rāgas share the same scale. The underlying scale may have five, six or seven tones made up of swaras. Rāgas that have five swaras are called audava (औडव) rāgas; those with six, shaadava (षाडव); and with seven, sampoorna (संपूर्ण) (Sanskrit for 'complete'). Those rāgas that do not follow the strict ascending or descending order of swaras are called vakra (वक्र) ('crooked') rāgas. It is the mood of the rāga that is more important than the notes it comprises. For example, Rāga Darbari Kanada and Rāga Jaunpuri share the same notes but are entirely different in their renderings.
Northern and southern differences
The two streams of Indian classical music, Carnatic music and Hindustani music, have independent sets of rāgas. There is some overlap, but more "false friendship" (where rāga names overlap, but rāga form does not). In north India, the rāgas have been categorised into ten thaats or parent scales (by Vishnu Narayan Bhatkhande, 1860-1936); South India uses an older, more systematic classification scheme called the melakarta classification, with 72 parent (melakarta) rāgas. Overall there is a greater identification of rāga with scale in the south than in the north, where such an identification is impossible. Rāgas in north Indian music system follow the 'law of consonances' established by Bharata in his Natyashastra, which does not tolerate deviation even at the shruti level.
As rāgas were transmitted orally from teacher to student, some rāgas can vary greatly across regions, traditions and styles. There have been efforts to codify and standardise rāga performance in theory from their first mention in Matanga's Brihaddeshi (c. tenth century).
Carnatic rāga
In Carnatic music, rāgas are classified as Janaka rāgas and Janya rāgas. Janaka rāgas are the rāgas from which the Janya rāgas are created. Janaka rāgas are grouped together using a scheme called Katapayadi sutra and are organised as Melakarta rāgas. A Melakarta rāga is one which has all seven notes in both the ārōhanam (ascending scale) and avarōhanam (descending scale). Some Melakarta rāgas are Harikambhoji, Kalyani, Kharaharapriya, Mayamalavagowla, Sankarabharanam and Todi.
Janya rāgas are derived from the Janaka rāgas using a combination of the swarams (usually a subset of swarams) from the parent rāga. Some janya rāgas are Abheri, Abhogi, Bhairavi, Hindolam and Kambhoji. See the full List of Janya Ragas for more.
Each rāga has a definite collection and orders of swaras (the basic notes). In Carnatic music, there are 7 basic notes of which there are 12 varieties. The seven basic swarams of Carnatic music are: Sa, Ri, Ga, Ma, Pa, Da, Ni.
Related rāgas
Even though Janya rāgas are subsets of Janaka rāgas in notation and representation, the differences between the child ragas are clear due to the differences like
some notes that figure more in a particular rāga compared to another, while other notes used sparingly some notes may be sung with gamaka, stress, elongation, etc., in one rāga compared to other specific phrases used and other phrases to be avoided in a rāga (so as to avoid deviation into another rāga's domain) the scales of some ragas may contain at least one swara that does not figure in their janaka ragas. Such ragas are termed as bhashanga ragas. Ragas such as Bhairavi, Kambodhi, Bilahari, Devagandhari, and Neelambari fall under this category. The effect of the rāgas are different from each other, even if they notationally use same swarams (or subset of swarams between each other) due to above subjective differences related to bhava and rasa (mood caused in the listener). The artists have to ensure the same when elaborating on a rāga, as has been followed and expected on each rāga, without digressing into the phrases of another related rāga. As we all know, science and notations cannot fully represent emotions and feelings.
Rāga-rāgini
The rāga-rāgini scheme is an old classification scheme used from the 14th century to the 19th century. It usually consists of 6 'male' rāgas each with 6 'wives'(rāginis) and a number of sons (putras) and even 'daughters-in-law'. As it did not agree with various other schemes, and the 'related' rāgas had very little or no similarity, the rāga-rāgini scheme is no longer very popular.
Rāgas and rāginis were often pictured as Hindu gods, Rajput princes and aristocratic women in an eternal cycle of love, longing and fulfilment. Read more »
LAHORE: Many high profile Indian actors and singers lived in the Walled City in
the 1940s and Lakshmi Chowk was where the film fraternity got together in tongas
decorated with maroon flowers, foot bells and lamps on the side.
The
tonga was the primary means of transport for the ordinary and elite in the 40s.
Most tongas were undecorated, but the ones used by the elite were special and
fascinating.
Indian superstars Pran, Muhammad Rafi, Om Parkash, Balraj
Sani, Dev Anand and many less known artistes started their film careers from
Lahore. The film life in Lahore was very high profile and animated in those
days. Lakshmi Chowk was the hot spot for formal and informal film
gatherings.
Pran, who mostly played the role of a villain in films, lived
in Qilla Gujjar Singh. He was a skilled photographer and took photographs of
famous artistes. One day – while standing at a pan shop in Lakshmi Chowk – he
met Wali, a leading film director of the time. Wali asked Pran if he was
interested in acting and Pran said yes. Wali wrote the address of Pancholi
Studios (one of the most famous film studios of Lahore in Muslim Town) on the
back of a cigarette pack and asked Pran to see one of his friends
there.
Pran started his film career with ‘Chaudhry’ and later appeared as
a hero in ‘Khaandaan’, a film by Shaukat Hussain Rizvi. The heroine was melody
queen Noor Jahan. Pran migrated to Bombay in 1947.
The subcontinent’s
legendary singer Muhammad Rafi lived in Bhaati Gate. He was from a family of
barbers and ran his own barbershop. Rafi had a beautiful voice and most of his
customers would often ask him to sing for them while they got their hair cut or
got a shave. A man from the film industry introduced Rafi to film director Gul
Baloch who gave Rafi the opportunity to sing three songs for ‘Gul Zaman’. The
film proved a launching point for Rafi’s film career in Lahore and by the time
he migrated to India in 1947, he was an accomplished singer. In Bombay Rafi got
a breakthrough in ‘Jugnoo’. The hero was Dilip Kumar and heroine Noor Jehan. Om
Parkash was also one of the great names of Bombay. He lived at Matti Chowk,
Lohari Gate and always rented out a decorated tonga to take him from Matti Chowk
to Lakshmi Chowk every day. Parkash did many small and large roles in films made
in Lahore and also migrated to India in 1947.
Balraj Sani also lived at
Matti Chowk and was the secretary general of the All India Communist Party. He
studied at Government College. Sani also acted in pre-Partition films in Lahore.
Dev Anand lived in Lohari Gate, but later moved to Bhaati Gate. He also studied
at Government College. Dev Anand participated actively in politics in Lahore.
His brother Chaitan Anand was a famous film director in Lahore and was
considered quite influential in film studios when it came to casting and other
affairs.
Meena Shori was one of the leading female actors of her times.
She lived in Bhaati Gate and married the owner of Shori Film Studio (now Shah
Noor Studio). She acted in several pre-Partition films made in Lahore and
migrated to India in 1947. In 1956 she returned to Pakistan to act in ‘Ms 56’
and never went back to India. She accepted Islam and started living in Lahore.
BR Chopra is a leading name in production and direction in the Indian film
industry. Chopra lived in an area where at present Chuburji Quarters exist. He
produced a film in Lahore called ‘Chandni Chowk’. Khayam, one of the leading
music composers of the Indian film industry, was his assistant and served him
and his guests tea.
Khurshid Begum was an outstanding singer from Lahore
who migrated to India in 1947. She also lived in Bhaati Gate. She sang several
famous songs for various Indian films. She sang a great song for film ‘Tan Sain’
with singer Sehgal. She returned to Pakistan after a few years and started
living in Karachi.
Tanveer Naqvi was a noted lyricist of his times. He
lived in Faqirkhana Museum inside Bhaati Gate. He wrote ‘Awaz Dey Kahan Hai’ and
‘Jaan-e-Baharan, Rashk-e-Chaman’. He migrated to India in 1947. Naqvi also
returned to Pakistan after a few years and spent the rest of his life in Lahore.
Lakshmi Chowk was the focal point of Lahore’s film industry crowd. By the
evening, Lakshmi would be full of tongas, with film stars, top film directors
and producers thronging teahouses and discussing filmy affairs. Pran, Om Parkash
and Al Nasir, another Lahori film hero, would spend their evenings chatting and
playing billiards.
There also was a hotel called King Circle at Lakshmi
Chowk where film stars gathered. A bank has taken its place these days. Even
today Lakshmi Chowk is a major centre of filmi Lahore.
Jiya lage na kya karu sajna Na jaiyo re sautan ghar sainyai
Raga: Adana
Jhanak jhanak payal baje – JJPB Radhike toone bansari – Bhai Bhai Manmohan man mein ho tumhi – Kaise Kahoon
Raga: Ahir Bhairav
Puchho na kaise maine rain bitai – Meri Surat Teri Aankhen Ramka gun gaan kariye- Ram Shyam Gun Gaan (non-film) Meri bina tum bin roye – Dekh Kabira Roya Main to kabse teri sharan men – Ram Nagari Zindagi ko sanvarana hoga – alaap Sola barasaki bali umarko salam -ek dujhe ke liye Apne jeevan ki uljhan ko – Uljhan Man Anand Anand Chhayo – Vijeta Waqt karta jo wafa aap hamare – Dilne Pukara Ram teri ganga maili ho gayi – Ram Teri Ganga Maili Meri galiyonse logonki yari badh – Dharmatma Chalo man jayen ghar apne – Swami Vivekananda Albela sajan aayo re – Hum Dil De Chuke Sanam
Raga: Alaiya Bilawal
Jana gana mana – National Anthem Bhor ayi, gaya andhiyara – Bawarchi Sare ke sare ga ma ko lekar – Parichay
Jag dard-e-ishq jaag – Anarkali Radha na bole na bole – Azad Bedardi dagabaz ja tu nahin – Bluff Master Chah barbad karegi – Shah Jahan Jao jao nand ke lala – Rangoli Aaja re, paradesi – Madhumati Ghadi Ghadi mera dil dhadke – Madhumati Hamse aya na gaya – Dekh Kabira Roya Poochhta jaa mere marghatse – A ghazal from Ghulam Ali Chaman men rang-e-bahar – Ghulam Ali album
Raga: Bahar
Chham chham nachat ayi bahar – Chaaya Mann ki bin matwari baje – Shabab
Raga: Bairagi
Kisi nazar ko tera intazar aja – Aitbaar Mein ek raja hun- Uphaar
Raga: Barawa
Khai hai re humne kasam – Talash
Raga: Basant
Ketaki, gulab, juhi champaka – Basant Bahar
Raga: Bibhash
Sanjh dhale gagan tale hum – Utsav Neelam ke nabh chhayi – Utsav
Raga: Bhairav
Sun ri pavan, pavan puravaiya – Anuraag Jaago mohan pyaare – Jaagte Raho
Raga: Bhairavi
Babul mora naihar chhooto – Street singer Insaf ka mandir hai – Naya Daur Kaise jaun jamunake tir – Devta Laaga chunari men daag – dil hi to hai Jyot se jyot jagate chalo -san gyaneshwar Jo bhaje hari ko sada – Bhajan Jab dil hi tut gaya – Baiju Bavra Ai diwali, ai diwali – Shah Jahan Do hansonka joda bichhad – Ratan Barasat men, hamse mile tum – Ganga Jamuna Dost dost na raha – barsaat Bol radha bol sangam hoga ke – Sangam Mera juta hai japani – Sangam Ramiya vasta vaiya – shree 420 Suno chhotisi gudiya ki lambi – shree 420 Khamosh hai – seema Mere ai dil bata – amar Sanvare sanvare – JJPB Ai mere dil kahin aur chal -anuradha Mile sur tera hamara – Doordarshan Kaise samjhaoon bade nasamajh-Sooraj Bhor bhaye panghatpe-satyam shivam sundaram Jare, jare ud ja re panchhi – maaya Jay bolo beiman ki- beimaan Mithe bol bole – kinaara Mitwa re mitwa purab na jaio -jawaab Hato kaheko juthi banao – manzil Jiya jale jaan jale nainon tale – Dil Se Phool gendava na maaro -Door ka Chand Dhanya bhag seva ka avsar – sur sangam Mile jo kadi kadi, ek zanjeer- kasme waade Hume tumse pyar kitana – kudrat Kar chale hum fida jaan-o-tan – haqeeqat Heer ( doli chadhke heer) – heer ranjha Phir kisi raah guzar par shayad – ghazal – Jagjit Meri tanhaiyon tum hi lagalo – Ghazal – Jagjit Yeh dil yeh paagal dil mera – Ghazal Ghulam Ali Beshaq mandir masjid todo – bobby
Raga: Bhatiyar
Ek ritu aye ek ritu jaye – Jhanak Jhanak Payal Bhaaje
Raga: Bhimpalasi
Ai ri main to prem diwani – Navbahar Maine chand aur sitaronki- Chandrakanta Ye na thi hamari kismat – Mirza Ghalib Dil mein tujhe bithake puja – Fakira Nainon mein badra chhaye – Mera Saaya Jhanakar payalaki tose binati – Naga Devta Hum giridha rake ghar jaun – Meera Bhajan Samay dhire chalo – Rudaali Kismat Se Tum Ham Ko Mile Ho – Pukar Ae Ajnabi Tu Bhi Kabhi – DIl SE Khilte Hain Gul Yaha – Sharmilee Main gareebon ka dil hoon – ab-e-hayat
Raga: Bhoopali
Chanda hai tu, mera suraj hai tu – Aradhana Sayonara, sayonara – Love in Tokyo Pankh hote to ud aati re – Sehraa Jyoti kalash chhalke – Bhabhi ki Chudiyaan Jab nil gagan ki chhaon mein – Amarapali Achyutam keshavam ram – shloka Jaun tore charan kamal par vari – Sur Sangam Om namah shivay – Bhairavi Panchhi banu udti firun mast – Chori Chori Dekha ek khwab to yeh silsile – Silsila In ankhon ki masti ke, mastane – Umrao Jaan Dil hun hun kare – Rudali He Govind, He Gopal, He Dayaal – Jagjit singh ghazal…
Raga: Bhupali Todi
O zindagi ke denevale – Nagin
Raga: Bihag
Tere sur aur mere geet – Goonj Uthi Shehnai Koi gata, main so jata – Alaap Tere pyar men dildar – Mere Mehboob Ae dil beqarar jhum – Shah Jahan Hamare dilse na jaanaa – Udan Khatola Chalenge tir jab dil par- Kohinoor Zindagi ke safar men gujar jate – Aap ki kasam Yeh kya jagah hai doston- Umrao jaan Meri ladli re, meri ladli – Andaaz Tujhe jeevan ki dor se baandh – Asli Naqli Hamare dilse na jaanaa -Udan Khatola
Raga: Bilaskhani Todi Jhoothay naina bolay – Lekin Diya na bujhegi, aaj hamara
Raga: Basant Mukhari O basanti pavan pagal – Jis Desh Me Ganga Behti Hai Vada kar le sajna – Haath ki Safai
Raga: Chandrakauns Tu hi tu main seva karu San sanna sanna sanna, jao re o pavan Majhi re himmat na har
Raga: Charukeshi Bainya na dharo, o balama – Dastak (old) Aaj dilpe koi jor chalta nahin – Milan Kabhi raat din hum dur the – Aamne Saamne Ek tu na mila – Himalay ki Godmen Akele hain chale aao – Raaz Bekhudimen sanam kisi rahamen kisi modpar – Mere Humsafar Megha re Megha re… – Pyaasa Bedardi balama tujh ko, mera man yaad karta hai – Aarzoo Shyam teri bansi pukare radha naam – Geet Gata Chal Jaan-e-jaana…Jab jab teri surat dekhun – Janbaaz Chhod de sari duniya kisike liye – Saraswati Chandra
Raga: Chhayanat Chanda re, ja re ja re – Ziddi (old) Baad muddat ki yeh ghadi aayi – Jahan Aara Hum bekhudi mein tumko pukaare chale gaye – Kaala Paani Tere naina talaash karen jise – Talaash Chaina nahin aye, kahan dil jaye – Samundar Zan Zan Zan Zan payal baje
Raga: Darbari Ye Hawa Ye Raat Ye Chaandni – Sangdil Bahon Ke Darmiyan – Khamoshi (new)
Raga: Darbari Kanada Dil jalta hai to jalne de – Pehli Nazar O duniyake rakhawale – Baiju Bawra Tute hue khvabonne – Madhumati Mohabbat ki jhuthi kahani pe roye – Mugal-e-azam Tora man darpan kehlaye – Kaajal Daiya re daiya laj mohe lage – Leader Guzre hai aaj ishqmen – Dil Diya Dard Liya Raha gardishonmen haradam – Do Badan Jhanak jhanak tori baje payeliya – Mere Huzoor Hum tujh se muhabbat kar ke – Awara Teri duniya mein dil lagta nahin – Baware Nain Mere mehboob shayad aaj kuchh – Kitne Paas Kitne Door Ghoonghat ke pat khol re – Jogan Dekha hai pehli baar – Saajan Tumhe zindagi ke ujale mubarak – Poornima Ishwar satya hai – Satyam Shivam Sundaram Kitna hasin hai mausam – Azad Hum tum se juda ho ke – Ek Sapera Ek Lutera Aap ki nazaron ne samajha – Anpadh Ud ja bhanwar maya kamal ka – Rani Roopmati Koi matwala ayaa more dware – Love In Tokyo Pag ghoongroo bandh meera naachi thi – Namak Halal Yaad mein teri jaag jaag ke hum – Mere Mehboob Tu pyarka sagar hai – Seema Hangama hai kyon barpa – A Ghazal by Ghulam Ali Pag ghoongroo bandh meera naachi thi – Namak Halal Ab kahan jayen ham – Ujala Nainheenko raah dikha prabhu – Bhakta Surdaas Shayerana se hai zindagi ke adaa – Phir Teri Kahani Yaad Aye Jay Radha madhav Jai kunjbihari – Bhajan by Jagjit Singh
Raga: Desh Phir kahin koi phul khila – Anubhav Bekasi hadse jab guzar jaye – Kalpana Door Koi Gaaye, dhun yeh sunaye – Baiju Bawra Pyaar Hua Chupke se – 1942, A Love Story Om jai jagadish hare – Poorab Aur Pashchim Phir kahin koi phool khila, chaahat na kaho usko – Anubhav Vande mataram
Raga: Desi Aaj gaavat man mero jhumke – Baiju Bawra
Raga: Durga Geet gaya pattharon ne – Geet Gaya Pattharon ne Chanda re mori patiya le ja – Miss Mary Raga: Dhani Prabhu tero nam jo gae phal – Hum Dono
Raga: Gara Tere mere sapne ab ek rang hain – Guide Jivanmen piya tera sath rahe – Gunj Uthi Shehnai Raghupati raghav raja ram – Bhajan Thumak chalat ram chandra – Bhajan Aise to na dekho – Teen Deviyan Kabhi khud pe kabhi haalat pe ronaa aaya – Hum Dono Mohe panghat pe nandlal chher gayo re – Mughal-e-Aazam Unke khayaal aaye to aate chale gaye – Lal Patthar
Raga: Gaud Malhar Garajat barsat savan ayo re – Barsaat Ki Raat (old) Jhir jhir barase savani ratiyan – Ashirvad
Raga: Gaud Sarang Allah tero naam – Hum Dono Naadir deem, ta na dere na – Pardesi
Raga: Gurjari Todi Ek tha bachapan – Ashirvad Jaa-jaa re ai pathikwa – Lekin
TOP
Raga: Hamir Madhuban men radhika nache re – Kohinoor Jao re jogi tum – Amrapali
Raga: Hemant Yad piyaki aye – A Thumri by Ustaad Bade Ghulam Ali Khan Udajare ja re kaga – Meera bhajan by Lata Mangeshkar Tumbin jeevan kaise – by Manna Dey
Raga: Jaijaiwanti Manmohana bade jhoothe, haar ke haar na maanein – Seema Bairan ho gai raina – Dekh Kabir Roya Zindagi aaj mere namse sharamati hai Yeh dilki lagi kam kya hogi – Mugal e Azam Dost bankar bhi nahin saath nibhanevala – A Ghazal by Ghulam Ali Suni suni saans kay sitaar par – Lal Patthar Thumak chalat Ramchandra, baajat paijaniya – Bhajan
Raga: Jaunpuri Dil chher koi aisa naghma – Inspector Ghunghat ke pat khol re tohe piya milenge – Jogan Jaayen to jaayen kahaan, samjhega kaun yahaan – Taxi Driver Meri yaad mein tum na aansu bahaana – Madhosh Muhabbat ki jhoothi kahani pe roye – Mughal-E-Azam
Raga: Jhinjhoti Mere mehboob tujhe meri muhabbat ki kasam – Mere Mehboob Jaun kahan bataaye dil – Chhoti Bahen Tum mujhe yun bhula na pao ge – Pagla Kahin Ka Teri ankhoke siva duniyamen – Chirag Mose chal kiye jaye hai re hai hai dekho saiyan beiman – Guide Ja ja re ja, balmava – Basant Bahar Koi hamdam na raha, koi sahara na raha – Jhumroo Ghungharoo ki tarah, bajata hi raha hoon main – Chor Machaaye Shor Chhup gaya koi re durase pukarake – Champakali
Raga: Jogiya Dil ek mandir – Dil ek mandir hai Kah do koi na kare yahaan pyaar – Goonj Uthi Shehnai Raat bhar ka hai mehmaan andhera – Sone Ki Chidiya Raga: Kafi Kali ghodi dwar khadi – Chashme-baddoor Biraj me holi khelat nand lal – Godaan Gairon pe karam apnon pe sitam – Aankhen (old)
Raga: Kalavati Hay re vo din kyun na aye – Anuradha Kahe tarasae jiyara – Chitralekha Koi sagar dilko bahalata nahin – Dil Diya Dard Liya Hai agar dushman dushman, zamaana ghum nahin – Hum Kisi Se Kam Nahin Subah aur sham kamhi kam – Uljhan Bhajan bina chain naa aye ram – Rafoochakkar
Raga: Kalyan Do naina matavale tihare – Choti Bahen Janevale se mulakat na hone payi – Amar Ansu bhari hai ye jivanki rahe – Parvarish Jiya le gayo ji mora savariya – Anpadh Mausam hai ashikana – Pakeezah Inhi logone le lina dupatta mera – Pakeezah Jab dip jale ana – Chit Chor Woh sham kuchh ajib thi – Khamoshi (old) Chandansa badan chanchal chitavan – Saraswati Chandra Apke anurodhpe main ye geet – Anurodh Bada dukh dina tere lakhanne – Ram Lakhan Yaad “Breathless” – Breathless (Shankar Mahadevan) Lagta nahin hai dil mera – Laal Quila Man re tu kahe na dhir dhare – Chitralekha Saranga teri yaadmen – Saaranga Abhi na jao chhodkar – Hum Dono Mere humsafar mere paas – Refugee
Raga: Kamod Eri jane na dungi – Chitralekha Jao re jogi tum jao re – Amrapali Tumko dekha to ye khayal aya – Saath Saath
Raga: Kedar Bekaspe karam kijie – Mugal-e-Azam Humko manki shakti dena – Guddi Pal do pal ka saath humara – The Burning Train Aapki ankhonmen kucch – Ghar Bole to basuri kahi – Saawan Ko Aane Do Uthaye ja unke sitam – Andaaz (old) Main paagal mera manwa paagal – Aashiana
Raga: Khamaj Ayo kahan se ghanashyam – Buddha Mil Gaya Bada natkhat hai…ka kare yashoda maiya – Amar Prem Vaishnav jan to – Narsinh Mehta Bhajan Nazar lagi raja tore bungle par – Kaala Pani Kuch to log kahenge – Amar Prem Vaishnav jan to taine re kahiye (Bhajan)
Raga: Kirwani Mera dil ye pukare a ja – Nagin Yaad na jaye bite dinonki – Dil Ek Mandir Meri bhigi-bhigisi palakonpe – Anamika Ye raten ye mausam nadika kinara – Dilli Ka Thug Nind na mujhako ae – Post box No. 999 Pukarta chala hun main – Mere Sanam Geet gata hun mai – Laal Pathhar Anevala pal janevala hai – Golmaal Bekaraar dil too gaaye ja – Door Ka Rahi Mera dil ye pukaare aaja – Nagin
Raga: Lalit Tu hai mera prem devta – Kalpana Ik shahenshahne banvake hansi – Leader Pritam daras dikhao – Chacha Zindabad Koi paas aya savere savere – A Ghazal by Jagjit Singh Tu nahin to mere liye – Tum Yaad Aaye Raina biti jaye – Amar Prem
Raga: Madhuvanti Rasm-e-ulfat ko nibhaayen, to nibhaayen kaise – Dil Ki Rahen Ko birahini ko dukh jane – Chala Vahi Desh
Raga: Madhyamad Sarang Aa laut ke aaja mere meet – Rani Roopmati
Raga: Manjh Khammaj Kaanha kanha aan padi re tere dwar – Aman Jane kaise sapano me kho gai ankhiyan – Anuradha Kaise dina bite kaise biti ratiyan piya jane na – Anuradha
Raga: Malgunji Nain so nain nahi milo – Jhanak Jhanak Payal Baaje Ghar a ja ghir aye badra – Chhote Nawab Unko yeh shikayat hai – Adaalat (old) Na jiya lage na – Anand
Raga: Malkauns Man tarapat hari darshanko – Baiju Bawra Aadha hai chandrama rat adhi – Navrang Tu chhupi hai kahan – Navrang Aaye sur ke panchhi aaye – Sur Sangam Ye kahani hai diyeki aur tufanaki – Tufan aur Diya O pavanvegase udanevale ghode – Jai Chaittaur Ankhiyana sang ankhiya lagi aaj – Bada Aadmi Deep jalaye jo – Kalakaar
Raga: Mand Tu chanda main chandani – Reshma aur Shera Kesariya Balam – Lekin Ab to hai tumse har khushi apni – Abhimaan Piya piya bole mora kangana – Swarg Nark Bachpan ki mohabbat ko – Baiju Baawara Dheemo re chale re vaayariyo – Album (Piya Basanti)
Raga: Maru Bihag Matwaali naar thumak thumak Tum to pyar ho sajna – Sehra Jamunaa kinare aaja chaliya pukare aaja – Mehbooba
Raga: Marwa Payeliya bavari – Saaz aur Aawaz
Raga: Megh Mahefil men baar baar kisi par nazar gai – A Ghazal by Gulam Ali Konpalen phir fut ayi – A Ghazal by Mehdi Hassan Kahan se aye badra – Chashm-e-Badoor
Raga: Megh Malhar Dukh bhare din bite re bhaiya – Mother India Tan rangalo ji aaj man ranga lo baraso re – Tansen Kare kare badra – by Lata Mangeshkar Ghata ghana ghora ghora – Tansen
Raga: Miya ki Todi Bhini bhini bhor aayi – Asha Bhosle’s Album ‘Dil Padosi Hai’
Raga: Mohanam (Carnatic) Jyoti Kalas Jalke – Bhabhi Ki Chudiyaan
Raga : Multani Daya karo e girdhar-gopala Raga: Nand Tu jahan jahan chalega – Mera Saaya
Raga: Pahadi Sunri sakhi mohe sajna bulae – Nagin O durke musaphir hamko bhi sath le le – Udan Khatola Are ja re hato natakhat – Navrang Chal ud jaa re panchi – Bhabhi Koi pyaar ki dekhe jadugari – Kohinoor Sakhi ri mera man umade tana dole – Nagin Chaudavika chand ho – Chaudavi Ka Chand Ye vadiyan phijae bula rahi – Aaj aur Kal Tujhko pukare mera pyar – Neel Kamal Aja re tujhko mera pyar pukare – Waqt Do sitaaron ka zameen par hai milan aaj ki raat – Waqt Din hai bahar ke tere mere – Waqt Kaun aya hai nigahonmen chamak jag uthi – Waqt Hum jab simatake aapki bahonmen – Waqt Janevalo jara mudke dekho mujhe – Dosti Chaahoonga main tujhe saanjh savere – Dosti Gudiya hamse ruthi rahogi – Dosti Lag ja gale ke phir ye hansi raat – Woh kaun thi? Vahan kaun hai tera musaphir – Guide Dil pukare aa re aa re – Jewel Thief Rulake gaya sapna mera – Jewel Thief Chalo dildaar chalo – Pakeezah Aaja re, aaja re o mere dilbar aaja – Noorie Kabhi kabhi mere dilmein – Kabhi Kabhi Isharon isharon mein dil lenewale – Kashmir Ki Kali Aaj ki raat mere dil ki salaami le le – Ram Aur Shyam Neela aasman so gayaa – Silsila Javaan hai mohabbat, hasin hai zamaana – Anmol Ghadi Jo waada kiya wo nibhaana parega – Taj Mahal Kora kaagaz tha ye man mera – Aaradhana Meri aankhon mein bas gaya koi re – Barsat O door ke musaafir, ham ko bhi saath le le – Udan Khatola O mora naadaan baalama na jaane dil ki baat – Ujala Saawan ka mahina, pawan kare sor – Milan Shaam dhale khidki tale tum seeti bajaana chhor do – Albela Suhaani raat dhal chuki, na jaane tum kab aayoge – Dulari Tere mere honthon pe, meethe meethe geet mitava – Chaandani Paayo ji maine ram ratan dhan paayo (Bhajan) Aapko dekhke baadal ko pasinaa – Hum Aapke Dilmen Rahte Hai
Raga: Palasi Gori tera gaanv bada pyara – Chit Chor
Raga: Patdeep Saaz ho tum awaz hun main – Saaz aur Aawaz Megha chhaye adhi raat – Sharmilee
Raga: Pilu Ajahun na aye balma – Sanjh Aur Savera Jhoole mein pavanki ayi bahar – Baiju Bawra More sainya ji utarenge paar nadiya dhire baho – Uran Khatola Dheere se aaja ri akhiyan mein nindiya – Albela Banwari Re Jeene Ka Sahara – Ek Phool Char Kante Jaiye aap kahan jayenge – Mere Sanam Dhoondho dhoondho re saajna – Ganga Jamuna Allah megh de pani de – Guide Kali ghata chhaye mora jiya ghabraye – Sujata Tere bin soone nayan hamare – Meri Soorat Teri Aankhein Pi ke ghar aaj pyari dulhaniya chali babul – Mother India Nadiya kinare harayee aayee kangna – Abhiman Ab ke baras bhejo bhaiya ko babul – Bandini Baharon ne mera chaman loot kar – Devar Kaun gali gaye shyam – Pakeezah Tu jo mere sur men – Chitchor Na jao saiyan chhuda ke baiyan – Sahib Biwi Aur Ghulam Din sara guzara tore angana – Junglee Mainu ishq lag gaya rog – Dil Hai Ke Maanta Nahin Surmayi akhiyonmen nanha munna ek sapna de jaa re – Sadma Apni kaho kuch meri suno – Parchhain Ai meri johara zabeen, tujhe maaloom nahin – Waqt Chandan ka palana resham ki dori – Shabab More kaanha jo aaye palat ke – Sardari Begum Raghuvar tumako meri laaj (Bhajan)
Raga: Puriya Dhanashri
Tori Jai Jai Kartaar – Baiju Bawra Ruk jao banavasi ram – Sampurna Ramayan Rut aa gayi re, rut chha gayi re – 1947:Earth Hai rama yeh kya hua – Rangeela Meri sanson ko jo mehaka rahi hai – Badalte Rishtey Tumne kya kya kiya hai hamare liye – Prem Geet
Raga: Rageshri
Mohabbat aisi dhadkan hai – Anarkali Mere sang ga gunguna – Janwar Kaun aaya mere manke dwaare – Dekh Kabira Roya Mitva bole mithe bain – Parichay
Raga: Sarang
Aa laut ke aaja mere meet – Rani Roopmati Savan aye ya na aye – Dil Diya Dard Liya Dair-o-harammen basne waalon – Ghazal by Jagjit Singh Saawan rut aaye dekho balam – Album (Piya Basanti)
Raga: Shudh Kalyan
Chand phir nikala – Paying Guest Meri muhabbat javan rahegi – Janwar Jahaan daal daal par sone ki cheediyaan – Sikandar-e-Azam Chaand phir nikala, magar tum na aaye – Paying Guest Rasik balama – Chori Chori
Raga: Shankara Rumajhuma rumajhuma chala tihari – Tansen Bolo bolo kanha bolo chhaliya – Chhaliya
Raga: Shivranjani Aawaz deke hamem tum bulao – Professor Jaane kahaan gaye wo din – Mera Naam Joker Sansar hai ek nadiya – Raftaar Khabar meri naa lini re bahut din bite – Sant Gyaneshwar Mere naina savan bhado – Mehbooba Banake kyun bigada re – Zanjeer Ai mere sanam ai mere sanam, do jism magar ek jaan – Sangam Dil ke jharokhe mein tujhko bithakar – Bramhachari Tere mere beech mein – Ek Duje ke liye Kahin deep jale kahin dil – Bees Saal Baad Tumhe dekhti hun to lagta hai aise – Tumhare Liye Bahaaro phool barasaao, mera mehboob aaya hai – Suraj Yaad teri aayegi, mujhko bara sataayegi – Ek Jaan Hain Ham
Raga: Sohni Jhumati gayi hawa, yaad aa gaya koi – Sangeet Samrat Tansen Kuhu kuhu bole koyaliya – Swarn Sundari Prem jogan ban ke – Mughal-e-Azam
Raga: Sur Malhar Dar lage garaje badariya – Ram Rajya
Raga: Tilang Chhup gaye saare nazaare hoye kya baat ho gayi – Do Raaste Chota sa baalama akhiyaan neend udaaye le gayo – Ragini Rehte the kabhi jinake dil mein ham jaan se bhi – Mamta Yahi armaan lekar aaj apne – Shabab Itna to yaad hai mujhe – Mehboob ki Mehndi Meri kahani bhulnevale – Deedar Sajna sang kahe neha lagae – Main Nashe Me Hun Lagan tose lagi balma – Dekh Kabir Roya
Raga: Tilak Kamod Dil-e-nadaan tujhe hua kya – Mirza Ghalib Tumhare bin ji na lage gharmen – Bhumika Jalta rahata din raina
Raga: Todi Insan bano – Baiju Bawra Mai to ek khvab hun – Himalaya Ki God Mein Duniya na bhaye mohe, ab to bulale – Basant Bahar Sun rasiya sun rasiya, kaahe ko jalaaye jiya aaja – Nagin Too hai mera prem devta – Kalpana Khuda e baratara teri jaminpar – Taj Mahal
Raga: Vrindavani Sarang Jhutimuti batiya avan kahe – Rudali
Raga: Yaman Aansu bhari hain ye jeevan ki raahein – Parvarish Aap ke anurodh pe, main ye geet sunaata hoon – Anurodh Bhooli huyi yaadon, mujhe itna na sataao – Sanjog Chandan sa badan, chanchal chitavan – Saraswati Chandra Chupa lo dil mein yoon pyaar mera – Mamta Do naina matawaare tihaare, ham par zulm karen – Chhoti Bahan Inhi logon ne le leena dupatta mera – Pakeezah Jaane vaale se mulaaqaat na hone paayi – Amar Jab deep jale aana, jab shaam dhale aana – Chitchor Jiya le gayo re mora saanwariya – Anpadh Mausam hai aashikaana, ai dil kahin se unko – Pakeezah Nigahen milane ko jee chahata hai – Dil Hi To Hai O ram ji, bada dukh deena – Ram Lakhan Woh shaam kuchh ajeeb thi, ye shaam bhi ajeeb hai – Khamoshi Ranjish hi sahi, dil hi dukhane ke liye aa (Ghazal)
Raga: Yaman Kalyan Abhi na jayo chhor kar, ke dil abhi bhara nahi – Hum Dono Ahsaan tera hoga mujh par – Junglee Beeti na bitaayi raina – Parichay Is mor se jaate hain – Aandhi Lagta nahin hai dil mera – Laal Quila Preetam aan milo Saaranga teri yaad mein, nain huye bechain – Saaranga Tere husn ki kya taarif karoon – Leader Wo jab yaad aaye, bahut yaad aaye – Parasmani Zindagi bhar naheen bhoolegi wo barsaat ki raat – Barsaat Ki Raat Aaj jaane ki zid na karo (Geet) Shri ram chandra kripaalu bhaj man (Bhajan)
A nonagenarian, aesthete and scholar of high repute, M.A.Sheikh has been
associated with the musical circles of Lahore for almost 70 years and has seen
profound changes taking place to classical music. "Yaadein" or Memories is a
reflection of M.A. Sheikh's memorable moments in classical music. In his fourth
article of Yaadein, M.A. Sheikh writes on an historic ceremony known as
“shakkar” involving the late Ustad Bade Ghulam Ali Khan, paying homage to Ustad
Akhtar Hussain Khan and Ustad Ashiq Ali Khan at the Takia Meerasian in
Lahore
Lahore in 1932/33 was a peaceful city marked by mutual
brotherhood and simple living. Commonly referred as to the “City of Gardens”,
Lahore was devoid of today’s hustle bustle, materialism and pollution filled
atmosphere. The main transport system consisted of cycles and tongas whilst the
sight of cars plying the city was extremely rare. The pursuits of wrestling and
kite flying were amongst the favourite pastimes of the residents, whilst
monuments like the Shalimar gardens and Jahangir’s tomb were popular places for
picnics and relaxation. Music was considered an integral feature of the city’s
cultural activities with countless baithaks, regular music concerts and recorded
music of Zohra Bai Agrewali, Bhai Chaila, Maujuddin Khan and others being heard
in the main shopping centres.
In these days a grand function was held at
the Takia Meerasian, Chamberlaine Road, outside Mocchi Gate Lahore in which
Ustad Bade Ghulam Ali Khan confirmed his ties with the Patiala gharana through a
ceremony known as “shakkar”, in which he offered his allegiance to Ustad Akhtar
Hussain Khan and Ustad Ashiq Ali Khan, the scions of the Patiala Gharana.
It was perhaps the month of October and about 1pm that the music lovers
of Lahore started gathering at the “Takia”, by the evening the crowd swelled to
over a thousand. The “Takia” was profusely decorated with buntings, carpets and
flowers. Large trays filled with sweets were at hand and we could smell the
beautiful aroma of food being cooked. The people were excited and embraced each
other with greetings and an atmosphere of cheerfulness pervaded all over. Those
who were present on this occasion with me were music directors Khawaja Khurshid
Anwar and Feroze Nizami, Syed Shabbir Hussain Shah, film actor Gul Zaman,
vocalist Ustad Chotey Ghulam Ali Khan, and sarangi player Ustad Nazim Ali Khan.
Ustad Akhtar Hussain Khan and Ustad Ashiq Ali Khan were both sitting at
a specially created dais, which was decorated with flowers, carpets, white
sheets, and bolsters. A sarangi, tanpura and tabla were placed close by. Ustad
Akhtar Hussain Khan was wearing an achkan shining with gold embroidery, a white
chooridar pajama, a black folding cap and a red scarf. Ustad Ashiq Ali Khan on
the other hand was attired in a dark brown suit, which was designed as a polo
outfit with bulging trousers and a short coat with four pockets. Ustad Bade
Ghulam Ali Khan was wearing a sprawling white turban, a loose white shirt with a
beautiful scarf and a white dhoti.
The ceremony started with the words
“Bismillah Sharif” and tying of the “gandha” to Bade Ghulam Ali Khan by the two
ustads. This was followed by the distribution of sweets amongst the two ustads
and various disciples. Ustad Bade Ghulam Ali Khan presented the two maestros
with gifts and money known as the “nazarana”. Innumerable people then followed
by presenting nazaranas to the two ustads. There was vociferous clapping and
loud shouts of greetings all around. A little later the music concert started.
Ustad Ashiq Ali Khan sang raag Marwa for about one hour and the audience was
completely overwhelmed with his pure imagery of raag, vigorous tonal variations,
inimitable flow of convoluted phraseology and unique rhythmic control. Ustad
Akhtar Hussain Khan and Ustad Bade Ghulam Ali Khan were also requested to
perform but they politely declined.
This unforgettable ceremony is still
recalled by many people, in Punjabi musical parlance it is known as “shakkar”
and shares similar traits to the traditional “gandha bandhan” ceremony. The
gandha bandhan ceremony is core to the lifelong traditional teacher – student
relationship necessary to learning the musical arts in the Indian sub-continent.
The ceremony is conducted by the teacher tying a thread (gandha) around the
student’s wrist and certifies that the student has become a formal disciple and
ready to show commitment in learning music. The union is not just from a musical
sense but involves a spiritual attachment between the teacher and student.
The shakkar ceremony on the other hand, is only conducted when the
disciple achieves a high level of musical proficiency. It is a celebration of
the student’s achievement and enables the student to pay homage to his teachers
and fellow members of the gharana in the form of gifts and monetary amounts.
I consider it an honour and privilege to have been present on this
historical occasion and at the request of Ustad Fateh Ali Khan of the Patiala
gharana and son of Ustad Akhtar Hussain Khan have recorded details of the
mentioned above ceremony in a video interview. Some years before his death,
Ustad Munawar Ali Khan, the son of Ustad Bade Ghulam Ali Khan visited Lahore and
complained to Mr. Hayat Ahmed Khan the Secretary General of the All Pakistan
Music Conference Lahore that there was great confusion about the incident as a
lot of people held the view that his father was only a disciple of Ustad Ashiq
Ali Khan and not of Ustad Akhtar Hussain Khan. Consequently a meeting was
arranged at the residence of Mr. Hayat Ahmed Khan in which I personally
explained my eyewitness account of this historic ceremony. He was convinced and
stated that he would set the record straight on his return to India. However in
a recent comprehensive book written by Mrs Malti Gilani and Qurat-ul-ain Haider
titled Ustad Bade Ghulam Ali Khan, His Life and Music, published by Harman House
Delhi in 2003, no mention whatsoever has been made of this ceremony, which is
deeply regretful.Read more »
Raga Darbari Kanada has often been described as the Emperor
of Ragas and the Raga of Emperors. These descriptions
recall the raga’s
association with Miya Tansen at Akbar’s court, and the majesty of the Mughal
Empire at its zenith. But, such imagery could not have either surfaced, or
survived through the centuries, if it had not also been supported by the
melodic character of the raga.
The key to the majestic aloofness of the raga lies in the ponderous
deliberateness with which it
has to be rendered. This “ponderous deliberateness” of musical expression owes
itself primarily to the “andolit” (oscillated) treatment of two swaras – komal
Ga, and komal Dh – in the ascent as well as the descent. These two oscillations
are fundamental to the sculpting of the two phrases which virtually define the
melodic personality of Darbari Kanada – [g M R] and [d n P].
These oscillations around (komal) Ga and Dh swaras define a very specific
treatment or intonation of these swaras in Darbari. Some authorities even
believe that Darbari does not use the common (komal) Ga and Dh pitch-ratios to
base-Sa. Instead, it uses their suppressed micro-swaras (shrutis). According to
this view, these suppressed micro-swaras are accessible only as suggestions
arising from an oscillation between the natural Re and
the flat Ga (for komal Ga) and between Pa and the flat Dh (for komal Dh).
In imparting a sensitivity to these nuances of Darbari Kanada to their
disciples, traditionally trained Gurus have often used very obscure language
and imagery. The logic of these oscillations is, however, easily understood
through acoustic principles -- essentially, the tonal geometry of the two
pivotal phrases of the raga: g-M-R and d-n-P.
The first and last swaras in these phrases, Re-Pa and Ma-Ni, are in perfect
first-fourth correspondence with a ratio of 1.333 between them. But, the
linking swaras, (komal) Ga and (komal) Dh are only in near-perfect
correspondence with a ratio of 1.367 between them.
To achieve a symmetry between the lower and upper halves of the Darbari Kanada
scale, the two pivotal phrases need to be in perfect phraseological congruence.
This is not possible until (komal) Ga and (komal) Dh are brought into perfect
acoustic correspondence with each other.
The oscillated treatment of (komal) Ga and Dh explores the relevant microtonal
regions for the possibility of tonal correspondence and phraseological
congruence. The melodic soul of the raga expresses itself in these
explorations.
The aesthetic demands of this tonal geometry might
explain why great musicians often favour slow tempo renditions in this raga,
and avoid the flattening out of the prescribed oscillations in ultra
high-density melodic execution.
Rāga (Sanskrit, lit. "colour" or "mood") refers to melodic modes used in Indian classical music. It is a series of five or more musical notes upon which a melody is made. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. Indian classical music is always set in a rāga. Non-classical music such as popular Indian film songs or ghazals sometimes use rāgas in their compositions.
Many Hindustani (North Indian) rāgas are prescribed a time of day or a season. When performed at the suggested time, the rāga has its maximum effect. During the monsoon, for example, many of the Malhar group of rāgas, which are associated with the monsoon and ascribed the magical power to bring rain, are performed. However, these prescriptions are not strictly followed, especially since modern concerts are generally held in the evening. There has also been a growing tendency over the last century for North Indian musicians to adopt South Indian rāgas, which do not come with any particular time associated with them. The result of these various influences is that there is increasing flexibility as to when rāgas may be performed.
The rāga-rāgini scheme is an old classification scheme used from the 14th century to the 19th century. It usually consists of 6 'male' rāgas each with 6 'wives'(rāginis) and a number of sons (putras) and even 'daughters-in-law'. As it did not agree with various other schemes, and the 'related' rāgas had very little or no similarity, the rāga-rāgini scheme is no longer very popular.
