• Shuddha Sarang (Early afternoon)

    While some believe Shuddha Sarang to be created by Miyan Tansen, a renowned singer at the court of the Mughal Emperor Akbar (1556-1605), others believe it came from the medieval musicologist, Sarangadeva (who wrote the music treatise 'Sangita Ratnakara', c. thirteenth century). This raga, performed in the early afternoon, is popularly picturised as a personification of Lord Vishnu, ‘desirable and of sweet speech’.

    Track Information : Vocal rendition of Raga Shuddha Sarang.
    Performer(s) : G. N. Joshi
    Collection : Nazir A. Jairazbhoy

    Pilu (Late afternoon)

    Sung in the late afternoon, raga Pilu is believed to have its roots in the Persian musical tradition. It consists of komal Ga, Dha, and Ni (flattened 3rd, 6th, and 7th notes) and evokes a peaceful, at times plaintive, mood.

    Track Information : Bansuri recital in Raga Pilu.
    Performer(s) : Pannalal Ghosh
    Collection : Nazir A. Jairazbhoy

    Bhimpalasi (Late afternoon)

    Bhimpalasi, of slow, sweet and tender mood, is performed during the late afternoon. The raga consists of all the seven notes, however, Re and Dha (2nd and 6th) are not used during melodic ascent. Ga and Ni (3rd and 7th notes) are komal (flattened).

    Track Information : Sarod recital in Raga Bhimpalasi.
    Performer(s) : Radhika Mohan Maitra
    Collection : Jonathan Barlow

    Multani (Late Afternoon)

    Of 'quiet, loving contemplation', Multani is believed to have come from the region of Multan. Raga Multani is performed in the late afternoon and consists of all seven notes - Re, Ga, and Dha are komal (flattened 2nd, 3rd, and 6th notes) and Ma is tivra (sharpened 4th note).

    Track Information : Vocal rendition of Raga Multani.
    Performer(s) : Hirabai Barodekar
    Collection : James Stevenson