RAGA PERFORMANCE TIME AND

THE GRAMA-MURCCHANA
SYSTEM

E. ja mes Arnold

The idea that one might associate various melodic types with particu-
lar times of the day for their proper performance, there being the feeling
that the musical modes evoke certain feelings or moods which are most
compatible with only certain times of the day or night , is surely one of the
most striking features of North Indian classical music. It is odd that so
unusual a feature of this system of music has not been adequately studied
(Deva 19,67:140). Although the association is a very old one, mentioned
first by Matanga in the 8th Century, most of what we have available as a
theory of associating ragas with times of day is a few fragmentary and
ad hoc rilles (Das 1951: 69-82).

As Deva has pointed out, most of these rules involve considerations

of either scale, position of vadi swara (the principle note of the raga) , or the
raga's tonal movement (op. cit., 137). Limiting our consideration solely to
questions of grama-murcchana related scale-types, the problem can be
approached from two levels: a chromatic perspective, and a transilient
perspective.

1. The chromatic perspective

Consider the fact that all of the twelve most consistent of the possible
chromatic scales (which are available as murcchanas of the chromatic
Ma-grama)l can be arranged in orderly fashion falling within the
limits set by the following two chromatic scales: one having all notes at the
lower of the two shruti positions, and the other having all notes at the higher
of the two shruti positions. (Sa, of course, has only one position). The first
1 The discussion which follows in this paper presupposes an familiarity with the grama-murcc-
hana system as discussed in the author's paper, ".4 Mathematical Model of the SMitH-
Swara Grama-Murcchana Jati System. " (see p. 36 for reference), The leader is advised
to consult that paper before he reads this present one, ..
 32
SANGEET NATAK

is the set of positions belonging to the cycle of fourths ~nd is the

a murcchana of the Ma -grarna chromatic scale, the second 1 the set of
3S
S O" b I ging to the cvcle of fifths and is equ al to the Pamurcchana
posmons e on J " I h " h 1"
. sea Ieo This series of" order y c aniznifi
of the Ma- grama c h romauc ges III s ru. I 0

value of the note s of the chromatic scale and Its aesthetic signi cance IS
indicated in the followin g table .

PROGRESSIVE MAJORIZATION OF THE SHRUTIS

OF THE CHROMATIC SCALE
o~ 'THE CHROMATIC SCALE
Ma-gram~
chromatic
murcchana resulting chromatic scale aesthetic
starting , value
step from : S It R G G M M P D D N N

I. Sa 0
- - - - - - - .., - - darker
2. Ma I - - - - + - - - -
3. Nil 0
- + - - + - - - -
4. Ga I
- + - - - - + - + - -
5. Dha
I 0
- + - + - - + - + - -
6. Re I 0
- + - + - - + - + - +
7. MB
3 0
- ... - ... - + + - ... - +
8. Ni 3 0
... ... - ... - ... ... - ... - ...
9. Ga3 0
... + - ... - ... + + ... - ...
10. Dha3 ... ... + + - + + + + - +
II. Re3 ... ... + + - + + + + ... ...
12. Pa 3 0
+ + + + + + + + + + + brighter

- = lower sbruti position

+= higher shruti position

Notice that up to and including the seventh step, the increase affects
only tivra (major) notes, and that beyond this step, the increase affects only
komal (minor) notes.

The chromat ic scale of the seventh murcchana of this series is the most
'active' scale in the set. It has all of its komal swaras in their atikomal (most
minor) po sitions, while, at the same tim e, all its tivra swaras in their tivratar
(most major) positions. All of the shru tir in this particular scale belong to
the Pythagorean families (Arnold 1984 : 32 ff). The Pyth agorean shrutl
positions lie at the extr eme limits of the tonal space of the swara degree,
and mostly their ratios are more complex than the ratios describin g the
. positions of the harmonic family shrutis , These higher ratios imply higher
tensions of mixture, and hence, aesthetically greater severity.
 ·33 RAGA PERFORMANCE TIME AND GRAMA-MURCcilANA SySTEM

Itis"curious that both tlvra and komal swaras should find their most
severe expression in the same chromatic scale. The 'cool' notes, the komals,
are at their 'coldest' precisely when the 'warm' notes, the tivras, are at their
'hottest'. This chromatic scale is a transitional scale having a high degree of
instability, or a high degree of stress. This kind of transition through an
. aesthetic tension in the scales should be compared to the transition periods
of activity in the 24-hour cycle of the day which occur at sunrise and
sunset.

"As evening sandhiprakasa (sunset) may be said to represent the hottest

part of the night, from which point on, the night becomes cooler, so morning
sandhiprakasa (dawn) may be said to represent the coolest part of the morn-
ing, from which point on, it becomes warmer. Analogously, the sixth and
seventh steps contain both the hottest of the majors, which by degrees 'cool'
moving from step six or seven backwards (to step one), and also the coldest
of the minors, which progressively 'warm' from step seven forwards."

"Thus, we should expect that ragas of the night wiII evolve from
scales that, as the night goes on, are born of the chromatic murcchanas
progressively nearing step one. And, so too, we should expect that the ragas
of the morning wiII evolve out of scales that, as the morning develops, are
born out of the scales of the murcchanas progressing towards the twelfth
step." (Arnold 1974: 26-27) This relation is expressed graphically in the
diagram on page 37.

.2. The transilient scale perspective

To consider the question of time from the point of view of seven to

nine note (transilient) scales, it it necessary to refer to the table of scales of
the extended grama-murcchana series (below). This table indicates the
natural affinity between notes of the chromatic Ma-grama scale, and certain
particular scale-types whose structure is related to the structure of the
gramas.

It is necessary to note some technical points which the casual reader

may prefer to skip, the first time through, going directly to the diagram
on page 38 which summarizes the relation between time and the grama
related scales.

The series of scales summarized in the "extended grama-murcchana

series" (Arnold 1983: 38) is repetitive. Complete in twelvesteps, the thirt-
teenth step starts another round but the pitch of the Sa will not be the same
in the second round as in the first. Instead, the Sa of the second round will
be a comma higher. (Notice that this is equivalent to lowering the Sa of the
grama by a comma. This is known technically as sadjasadharana, and it
makes use of the cyuta (fallen) Sa. (cf. Sangitaratnakara 5.7-9).
SANGEET N ATAK 34

SCALES OF THE EXTENDED GRAMA-MURCCHANA SERIES

(I) (2) (3)
'" Ma-gra~
,~ chromat Ic suddha ~ vikrit
murcchana grama grama ~rama adding dropping
starting Cantara) antara to from
8tep from: kakali) grama grams

I. Sa kaphi khamaj bilaval

2. Mal khamaj bilaval kalyan
3.
4.
5.

6. purvi todi

7. to~i a. laIit
b. bhairao

8. I I 3 3
a. lalit 3a: G1 N3 3a: R3 O. 3
b. bhairao 3b: G M 3b: °R M 0
3 I
c. bhairavi 3c: M 3c: M
9. komal 3 3
a. todi 3a: 3a: 0 R
pancarn§ b. bhairavi 3b: - 3b:-
10. komal p. bhairavi asavari
II. bhairavi asavari kaphi
12. asavari kaphi khamaj

We call th is scale "komal pancam" (equivalent to iBen odej because its distinguishing
characteristic is that its Pa (Sol) has shifted to the diminished, or komal position. There is
no common name for this scale in Hindustani music tradition.

Following the order of the series, which each time takes the next
murcchana starting from a perfect fourth above the starting place of the
previous murcchana, the step from 12 to 13 involves going from pa'
murcchana to C)'lIla-Sa murcchana. This has the effect of raising the Sa of the
resultant scale from the base Sa of step 1 by a comma. This error can be
eliminated by making a sadharana from eVllla-Sa back to the original Sa.
Because the phenomenon of musical sound has the nature of a spiral. not a
circle , it is necessary to make this correction to allow the round to start.

It is necessary to have the freedom to consider the cyclical nature of

the scale-types, which nevertheless, acoustically represent not a circle but a
spiral, because to approach the problem of time in relation to the main
sequence of scale-types. One requires the liberty to start the sequence from
the seventh step and pass from step one to twelve, or vice versa.

Following the same principle as in the chromatic perspective, namely,

 35 RAGA PERFORMANCE TIME AND GRAMA-MURCCnANA SYSTEM

that the seventh step murechana (which is also the most active scale-type)
should be taken as the starting place for sunset and sunrise, in the evening
one starts at step seven and works backwards into the night to step one,
and at the dawn, one starts from step seven and works forward to step
twelve as the day advances.

However, to complete the natural movement like this through related

scale-types, after midnight and into the deep night, or after noon, into the
late afternoon, it is necessary to be able to pass from step one to twelve or
vice versa directly. From the point of view of the chromatic perspective,
this step is ruled out. Nevertheless, if for the moment, the question of shruti
positions of the swaras is held in abeyance, one can see the obvious conti-
nuum: khamaj-kaphi-asavari-bhairavi, having 2.3,4, and 5 komal (minor)
swaras respectively. The step from kaphi to asavari, if it is to be made as a
regular transformation of scale-types and mood following the time of day,
must not suddenly shift the shruti families of its notes, as the step one to
twelve (Sa to Pa3 murcchana of the gramas) ordinarily would do.

Therefore, it must be recognized that there are two impulses at work.

One is the continuum of change of the chromatic scales which underlie all
lesser-note scales, and the other is the continuum of change of scale-type of
the grama-related scales. It is necessary to be able to follow both continua
at once in the cases mentioned above, namely, after mnidight and after mid-
day.

To do this requires tuning some scale-types belonging to the grama-

murcchana series according to the underlying scheme of a chromatic murc-
chana which starts from a different swara than does the murcchana which
properly gives the desired resulting scale-type. Thus, for example, according
to the grama perspective, around 11:00 P.M. one should perform ragas in
the kaphi scale (Demode) and after midnight that should change to asavari
(A-mode) scale ragas. But note that the former, available from the Sa
murcchana of the gramas has all of its notes at the lower of the shruti
positions, while the latter, available from Pas murcchana, has all of the notes
at the higher positions. Such a tuning for asavari thaat is suitable for the day,
but hardly is such a bright tuning for it welcome for the late night.

The solution is to follow the grama-murcchana transformation series

to determine scale-type following time of day, but to follow the Ma-grama
chromatic transformation series to determine the shruti positions of the
swaras (i.e, the tuning) of the resulting scale-types. This is summarized in
the diagram on page 38.

3. Time, murcchana, and raga-tuning

Following the implications of the above theory, the table on pages

SANGEET NATAK 36

39-41 summarizes for about seventy-five ragas, their performance times, to

which grama-murcchana they belong, and the microtonal tuning of their
scales according to the grama-murcchana theory. It is interesting how
many of these implications do conform to the tradition.

REFERENCES

Arnold. E.J. A mathematical model of the shruti swara grama-murcchana-jati system.

Journal of the Sangeet Natak Acaderni, New Delhi: Sangeet Natak no. 67,1983.

- - , Notes on the construction of a simple shruti-swara-grama-yantra, AlJS Quarterly

Newsletter. New Delhi: American Institute of Indian Studies, 1974.

Das, K.N. Time theory of the ragas (North Indian) . Journal of the Music Academy. vol.
XVII. Madras: The Music Academy, 1951.

Deva, B.C. Ragas and their time. Psychoacoustiecs of Music and Speech. Madras: The
Music Academy, 1967.
37 RAGA PERFORMANCE TIME AND GRAMA-MURCCHANA SYSTEM

TIME AND MURCCHNA CHANGE : THE CHROMATIC PERSPECTIVE

J
..
......~
......
I
e,
III murcchna
1 Sa 1Ii\
2 ns: 1I-1--f\
3 Ni V 1\
4- Ga / 1\
5 Dha 1/ r\
6 Re 1/ 1\
7 Pa=M~ II f'\ .1/
8 Ni 1/
9 [ja
10 Dha
11 Re \ ./
12 Pa
N.B. Since both scales at stepl and step 12 lack either a perfect fifth (Sa/Pa) or a
perfect fourth (SajMa), they cannot be used in practice in the presence of a Sa
drone: hence the dotted line.
 - :0:
"Ma in sequence" scales-srqVlnctprw 'Pd't
.~~
. Ha-grama \--- . ~ ~
...
...~
I
Cl..
cbromet rc
murccnna
s rert mq
shuddh
grama
vikrit
grama
(anfara)
vikrit
grama
(antira -
r-:
~
• e ~
~
'"
7
from:
d os rr,r ae

f1a
,
Todi --
kakali)

( Pur vi)
(Marva)
~~~~~~~~~~~~~~~~~~-~~~~~~
r\ ~
-- J
6 @ Purvi Todi -- ~ v r't .....1 - :-. J
5 Dna Marva Pur vi Todi ~ V ~ /
4 lia Kalyan Marva Pur vi \ I \ V
3 Hi Bilaval
..
Kalyan Marva ~ I r\ ~
2 !:M Khamaj Bilaval K.flyan ,,-~ \ 1/ 1\
1 Sa Kaphi Knamaj B/laval I'< ~ 1\
12 Pa Asavari Kaphi Khamaj l\ IJ f\
11 Re Bhairavi A sa van Kaphi 1\ 17
10 Dha
Komal-
iiancam(.) Bhairavi Asavari r'. II' -~~

9 lia '-- Todi

Bhairavi ~ lJ \
8 .Ni -- -- M~~rav ~ I) \
,
• 7. Ha Tod; -- La/it
Bhairav N
Key: Solid line indicates the transilient scale series; broken lines indicate the chromatic scale series.
39 RAGA PERFORMANCE TIME AND GRAMA-MURCCHANA SYSTEM

TIME, MURCCHANA, AND RAGA TIJNING

Ma-grama
grama chromatic
murcchana murc:chana
time step from : r esult ing grama scale t ype from: ra gas ·i n s cale
P. H.
S - 6 7. S RI(2)*c l C4 HI H4 p4 0 1 04 N4 Purv i
todi/purv i/marva Tri ve n i

6 -1 .. 6. S ~I c l C4 H3(4)*p4 0 1 0 4 NI N4 Shri
Puriyadhana shri
purvi/todi/marva Mali gaura

7 - 8 5. S RI c l C4 H3 p 4 0 1 0 4 N3 (4p Jetashri
Marva
marva/purvi/todi Jait

8 - 9 4. SRI' R4t c~ (4) H3 p4 0 1 04 N3 Puriya

Kalyan
kalyan/ ma~va/pu rv i _. Shyam- ka l yan
Puriya-ka l yan

9 - 10 3. S R' R4 c 3 HI H3 p4 0 3 (4) N3 Bhupali

Kamod
bilaval/kalyan/marva Chayanat
Hamir
Ourga
Kedar
10 - II 2. Ha' tilimg
Tilak-kamod
khamaj/bilaval/kalyan De i¢h
Jh,nJhoti
Khamaj
Rageshr i

Jaijaivanti
II - 12 I. Sa Kapbi
Malguilji
kaphi/khamaj/bilaval Bagesh ri
Abhogi .kanada
Nayaki -kanada
A. H. 3 Oarbari kanada
12 - I 12. 1'a S R3 (4) c l C3 HI p4 0 1 0 3 NI Adana kanada
asavari/kaphi/khamaj Barv" _
Malkauns
2. Sa S R (4) C3 ~f H3 p 4 0 3 NI N3
3 Bihag
khamaj Ibi lava l/kalyan S~ar.

Malkauns
~ R1 a4 C1 HI p4 0 1 03 (4) NI Bairag; ! _
bhairavi/asavari/kaphi Bhatiiyar
S RI a 4 C3 HI H3 p4 0 3 (4) N3 Sohini
bilaval/kalyan/marva Hindol-panchllil

*Tho number in parentheses indicates the alternative choice for th~ pancham of
Sa grama, Otherwise the scale is given in terms of Ma grama,
SANGEET NATAK

TIME, MURCCHANA, AND RAGA TUNING

Ha-grama
grama chromatic
murcc:hana murcchana
from: resultin from: ra as in scale

S RI R4 GI HI H) p 4 0 1 N' Gal Bairagi

Sampurn malkauns
koma1 p./bhairavi/asavari Paraj
S RI R4 G) (4) H3 p4 0 1 0 4 N)
Gal
Sohini
kalyan/marva/purV i Vasant

3 - 4 9. S RJ GI HI H) p4 0 1 NI ~ ) (4) Oha' Kalangada

-/-/todi Lalit
5. Dha' S R' G' G4 H) p4 0 1 0 4 N) (4) Dha
l
l'araj
marva/purvi/todi

4 - 5 8. S RI G' G4 HI H) (4) p4 0 1 NI N4 ReI Prabhat

--/ - - / l alit (bhairao) Lalit pane am
6. S RI G' G) H) (4)p4 0' 0 4 NI N4 ReI JoSi1 a
purvi/todi!--

5- 6 7. S RI (2) GI G4 HI H4 p4 0 1 0 4 N4 Bhairao
Sh iV ma t- b ha i r a o
todi/1alit/bhairao Ahir-bhairao
Vibhas (~h airao)
Todi

6 - 7 8. S R2 G1 G4 HI H4 p4 0 1 (2) N1 N4 VaAllnt-mu khari

todi/lal it/bhairao Ramkali
Ahir-b ha irao

6. S R' 0 1 OJ MJ ( 4)p' n' n' N' N' Re' Vi bhas (pur-v t )

Todi
purv i / t odi/--
1 - 8 S R2 G' (2) HI M4 p4 0 2 N' N4 Gunkali
--/--/~od i-bhairavi Vilaskhani todi
Oha' S R' 0' 0' M3 ( 4) p' n' n' N4 Ananda-ohairao
ma r va / pu r vi / t odi Bhattiyar
Vi bhas (marva)

•• 9 S R2 R4 G2 HI H4 p4 0 2 N1 (2) Suddha bhairavi

--/bhairavi/asavari Bhupal todi

Ga' S R' R4 G' MJ(4)p' n' 0' N' Hindel

kalyan/marva!purvi Oeshkar

, - 10 II. Re3 S .2 R4 G2 HI (2i p4 D2 0 4 N2 Kamal asavati

~hairavi -
bhairavi/asavari/kaphi
Gandhari

S R' R' 0 4 H' H3(' ) p4 0' N4 Bllaval

bi l av a l! k a l yan /m a r va
41 RAGA pERFORMANCE TIME AND GRAMA-MURCCHANA SYSTEM

TIME, MURCCHANA. AND RAGA TUNING

Ha-grama
grama chromatic
murcchana murcchana
time step from: resulting gr ama scale-type from: ragas in leale
A.ro,
10- II 12. Pa 3 5 R4 G2 G4 HI p4 02 04 N' (2) Aaavari
asavari/kaphi/khamaj Dev,andhar
Deh

2. f1a 1 S R4 G3 H' M3( 4) p4 D4 n' n4 Bilaval

khamaj/b{l aval/kalyan

II - 12 I. Sa 5 R4 G2 G4 HI p4 04 NI (2) N4 Deshi.
Suha
kaphi/khamaj/bilaval Sugharai
Bilaval
P. H.
12 - 1 2.. Hal S R4 G4 HI H4 p4 04 NI (2) N4 Bilavsl
kamaj Ibilava I/kalyan Hadhyamad urang
Brindavani larang

I - 2 3. Hi' 5 R2 R4 G4 HI p4 D4 N4 Suddba larang

bilaval/kalyan/marva Caud larang

2-32. HAl 5 R4 G4 HI H4 p4 D4 NI (2) N4 Suddba larang

~bamaj/bilaval/kalyan Gaud sarang
4. <:.' 5 &2 R4 G4 H4 p4 D2 04 H4 Brindavani .arang
kalyan/marva/puriya

3-4 r, 5a 5 R4 G1(2) G4 HI p4 04 H2 N4 Bbimpalaai

kapbi/kbamaj/bilaval Dbanasbri
""dhwanti
S. DbaI 5 R2 Cl (2) C4 H4 p4 D2 0 4 H4 Patmanjari
HUl~aQl .
marva/purvi/todi ~

4 - 5 ,. 5a 5 &4 CI (2) C4 HI p4 D4 H2 H4 Bbimpalad

Patadip
kapbi/khamaj/bilaval KadbllVand
6. Re' 5 &2 CI G4 H4 p4 D' (2) N' 54 HuHall!
purvi/todi!-