A Day in the Life of Krsna: A Musical

Krsna Kirtana Songs est. 2001 www.kksongs.org

A Day in the Life of Krsna: A Musical

No musical system in the world ever contained a scientific yet aesthetic aspect of music, with emotions, seasons, time, feeling, and mood like Indian music. Even though Indian music has been created since the creation of the Sama Veda, the foundations of the music has lasted through the test of time. To this day, people dedicate their lifetime studying the music of India.

Many musicologist devotees of Lord Krsna associate special ragas with every activity and aspect within one single day of the Lord. A raga is not simply a scale. Unlike a scale which has a set number of notes not truly positioned, the raga has a defined position, as well as defined flows in upward and downward directions. Even then, subtleties take place, such as flattening an already flattened note, or shaking a particular note. These subtle features are what make Indian classical music very fascinating, yet very difficult to understand.

In Indian classical music, there are eight prahars. Prahar is a region of time within a day. Each prahar consists of three hours each. Thus eight prahars equal the duration of one day. The first prahar begins at 3 AM, just as the last prahar within a day ends at 3 AM. Vaisnava musicologists classify prahars based on the Lord's lila. Bhaktisiddharta Dasa is well known for his project of linking lilas to prahars, and thus linking ragas appropriate for each time using a reasonable description.

The first prahar is known as the Nisanta Lila. "Nisanta" comes from "nisa" and "anta" meaning "darkness" and "end", respectively. In effect, this is indicating early signs of morning. The first prahar begins at 3:00 AM and ends at 6:00 AM. Radha and Krsna are already sleeping, and Lalita wakes Them up for Their union. Since Lalita wakes them up, Raga Lalita is the principal raga sung. Raga Lalita has an unusual structure, because it lacks P, and uses a chromatic application of two madhyams, which is otherwise forbidden in North Indian classical music. This lack of a pancham symbolizes that the sun has not arisen yet. In close examination of this raga, the purvanga of the raga represents the Purvi behavior, which hints the evening hours; The uttaranga brings strong influence of Bhairava, which is a morning raga. Raga Lalita is a link between morning and night, even though it is not truly night nor morning. The trend of ragas from 3 AM to 6 AM slightly change in nature, as the Purvi feature of the raga is converting towards the Bhairava behavior. Raga Vibhasa is usually used toward the later hours of the Nisanta Lila, because the sun is beginning to rise. Before the sun rises, Radha and Krsna must return home and sleep. Alas, Krsna! It's almost 6 AM. It is almost morning, as the sun is about to rise.

After nisanta lila, comes Pratah Lila or "Morning Pastimes." This takes place from 6 AM to 9 AM. It is around this hour where Mother Yasoda wakes up young Krsna. To wake up the Lord, Raga Bhairava is the most pleasing for the Lord. Raga Bhairava, when it is played in its pure form, can truly cause one to imagine the sunrise, and the start of a new day. The r and d receive an andolan or a light shake, which results in an extra flattening of a tone. The shake and extra flattening of these notes indicate the sun is beginning its attempt to rise. An extra embellishment of the tonic is caused by embracing 'N. The touching of 'N in the purvanga of the raga indicates Krsna opening His lotus eyes. Even when He is awake to Yasoda, He is remembering the beautiful pastime He felt not too long along, and He misses that. This feeling by the Lord can explain why Bhairava bear feelings of a sunrise, love, yet a touch of melancholy. Once He has arisen, He performs morning duties, such as taking a bath. Mother Yasoda and father Nanda Maharaja are so attached to Him that once He leaves for a mere bath, they eagerly wait for His return. They cannot help but feel melancholy for such a separation. Raga Gunakri shares this element. Musically, it is an audav-audav jati, lacking two notes in both directions. In this raga, m is a very weak note. Therefore, P will touch m but will glissando down to r touching as many srutis downward and then land on S. This slide of notes from P to S indicates a loss in heart. Likewise, the uttaranga slide from P to S' indicates a crying out for the lost love, namely Krsna. Even going further to the next from sliding to r' and maybe even reach m' or P' indicates an even more powerful yearning and cry. Once it has reached the height of the cry, once cry cannot be heard and the all of the notes just sliding down without stopping to S, which indicates that their pleasure to their eyes won't come. Yet, they still call by following the chalan. Meanwhile, Lord Krsna after taking His bath goes to enjoy the cows in Madhuvana and plays the flute. Govinda's lila is depicted by Raga Ahir Bhairava. This raga, unlike Bhairava, takes on a slightly different mood. Ahir Bhairava takes on the perspective of happiness, pleasure, and innocence. Young Krsna is innocently enjoying the cows, while His parents are crying for Him! The m emphasis shows the pleasure. The chalan towards G m r S 'D 'n r S indicates that innocent charm. Even past the uttaranga into the purvanga of the new octave, the innocence and the pleasure converge, which beautifies the feeling. After the Lord returns from His adventure with his bath and cows, Mother Yasoda in happiness prepares breakfast. Raga Asavari best describes the pastime of Krsna eating breakfast. The element of post-melancholy feelings of Mother Yasoda, and the happy playfulness of the Lord is shown are converged in one raga. Even after eating breakfast, the Lord leaves to play with His cowherd boyfriends. Mother Yasoda, again, in separation, feels melancholy of being separated and thus, Raga Asavari takes another form when R changes to r. A serious mood occurs.

This serious mood is not only shared by Mother Yasoda alone. In fact, this feeling is also shared by the cowherd boys, who are feeling sad in separation and eagerly waiting for Krsna to come. This introduces our third prahar called the Purvahna Lila, or Forenoon pastimes, which occur from 9 AM to 12 PM. The feeing of the cowherd boy is justified by Raga Todi. Raga Todi is the most appropriate unlike Raga Asavari with r. Raga Asavari had more of the feminine characteristic with m. Cowherd boys are masculine in nature, and their anxiety would adequately be represented by the use of M d N S' excluding P in the aroha. In the avaroha direction, P is included. P gives the raga its ground stability. However, P is very weak causing instability of the raga. Lastly for that extra feature of desire, r is flattened more than Raga Bhairava's r. Thus, Raga Todi's characterstic purvanga region in the avaroha line is r g r S. While experiencing this feeling, Lord Krsna finally came! The next raga is Raga Bhairavi. This raga, actually, can be used anytime. In addition, there is so much freedom. Taking advantage of these two thematic concepts, Raga Bhairavi has two different messages. Raga Bhairavi for the cowherd boys are performed using the original swar set and using the true chalan. This indicates happiness of the cowherd boys and Krsna when they meet. The gopis, however, are awakened, but they are missing Krsna very much. Why they do that, the gopis feel very shy of this, and as a result, R, which is not included in the original swar set, is used to indicate shyness. While feeling shy, the gopis would dream of the pastimes that could take place, indicated by G. M is not used very frequently in performances, as it disturbs the aesthetics as well as the harmonics of the raga. Thus, the presence of M in this raga indicates a tension or doubt. When one gopi doubts, there will surely be another gopi convincing their Krsna will come, by using D to indicate that there shouldn't be doubts and later using d to confirm it that Krsna will in fact come. Occasionally, N might be used to indicate the tear trop from the gopis eye either in happiness of the night, or in anxiety due to separation. It all depends on how N is used. So Raga Bhairavi, depending on which notes are played, can indicate happy feelings by the cowherd boys or the anxiety and sad feelings by the gopis. Even though Krsna is having fun with the cowherd boys, He, too, feels a separation and is really missing His beloved, Radharani. He is playing and laughing on the outside, but He is missing Radha in the inside. Raga Bhupali does full justice to this emotion. The lack of a madhyam or a nisada shows dissatisfaction inside. Using suddha swars brightens the day, but the way R, G, and D, are used show attempts not to cry inside, and actual crying, depending on how R, G, and D are connected. Even after the crying phase, P is used to reassure Himself that He is able to hold it inside and feels He has the ability to endure it. But the vadi of this raga is G and samvadi is D. He'll try keeping these feelings inside, but He'll have to cry and to reach a stable point, namely S or appropriately landing on G. The cowherd boys must be yelling to Krsna. They call You, Kanha!

It is noon, where Madhyama Lila, or Noon Pastimes, take place during the fourth prahar. It is 12 PM, and Lord and the cowherd boys are playing and having a great time. This carefree joyful nature is indicated by Raga Bilaval. This raga has the swara set exactly as the Western major or natural scale. However, Western major scale does not have any significance, as it is just notes clustered together. Raga Bilval at each point indicates a certain level of happiness or joy. S can be viewed as the start of joy, reaching to G, its vadi, representing a pleasure. While this pleasure is on strong force, the m and P indicates a radiance and sheer joy, as D N S' come to stand for activity. This is not a straight-chained scale. Rather, this has a specific chalan. The chalan of this raga will link the activity of the cowherd boys and the joy and pleasure felt. This is similar to a cause-effect relationship. While they are playing, Radha's messenger comes along and notifies Krsna of Radha's desire to meet with Him. Krsna in that playful mood also feels a bit numbed. Whenever He hears "Radha", He feels very much taken away in love. Krsna may control the infinite galaxies and universes of creation, but Radha is the only one that can control Him. This feeling of slight numbness can be best shown by Raga Khammaj. Lord is playing the cowherd boys, but He's feeling that numbness. The cowherd boys is shown through the aroha use of N. But while playing, He's feeling that hope to meet Her really soon, which is indicated by the avaroha use of n. Alas! Raga Khammaj has taken away the Lord so much, that He simply has to be with Radha in broad daylight! That feeling is represented by the beautiful numbed Raga Madhyamad Saranga. "Madhyamad" means "based on afternoon." Saranga family of ragas comes in many forms. This particular indicates the one shown for the afternoon. Here, m indicates a calm relaxed feeling for Krsna, as well as calmed behavior for Radha. The use of R and P indicate a desirable tension. However with R, the tension releases once it touches S. P, on the other hand, can reach up to n, showing how The Divine Couple reach the peak of love. Unlike the regular n, this particular n is sharpened ever so slightly to feel that urge to reach to the top. If it does, it doesn't stay too long, so it must fall down, via the avaroha, and reach the bottom S, the state of tranquility. The feeling may go upward to m, for another calm relaxation, but it will fall again to S. Any uttaranga feeling cannot happen in the afternoon. It's too bright outside and the gopis must be waiting for Radha, just as the cowherd boys must be waiting for Krsna! Alas, they part! Krsna reunites with the cowherd boys and playing takes along with Raga Gaura Saranga. Unlike their happily shared Raga Bilaval, this raga, because of its chalan, and the use of two madhyams, indicates playfulness but a slight touch of upset and doubt. Why are they feeling this way? Could it be because the Lord them in separation? Maybe it is because it's almost afternoon, and the Lord wishes to take an afternoon nap, and thus the appropriate use of two madhyams.

The fifth prahar begins with Aparahna Lila, or with afternoon pastimes. It is slightly later than 3 PM, and the Lord awakes from His rest. Since its afternoon, slightly on the verge of sunset, it is time to take the cows back to their home. The Lord does this, and the feeling of the cows adequately is portrayed through Raga Sri. Within daylight hours, this is the first use of a Purvi that raga within the daylight hours. Purvi that ragas usually indicate that it is evening. The slightly off-key r with its strong attachment to P causes a slight harmonic imbalance, as vadi and samvadi should either be fourths of fifths. In relation to r, P is an augmented fourth which can leave an empty feeling. Since cows are naturally attracted to Krsna, and since He is leaving, that empty feeling is naturally felt by the cows. Yet, cows are very devoted animals too. Thus, the strength at P and N, especially the M added with their critical roles in aroha, indicate how cows are devoted. The avaroha and the glissando from P to r, back to P to r, and then G r S, indicate melancholy. After departing the cows, Radharani's messanger comes to notify Krsna that She is eagerly waiting for the night. As Krsna is eagerly waiting too, He gets happy with joy. Just as two sheddings of tears does not necessarily indicate sadness, two types of joy does not necessarily indicate the same style. This joy is best shown by Raga Bhimphalasi of the Kafi That. This raga is very difficult to explain, because performing this raga is pretty difficult. The chalan is very unusual and is beyond the scope of the lila. Once must hear Bhimphalasi to even imagine how Krsna must feel. Krsna must return home, as it almost time to go. Whenever Krsna walks, everything gets enchanted by the grace of Raga Abhogi. This raga also hints that it is near evening, yet Krsna is playing walking enchanting everything and everyone He sees on His way home. But Balarama, Mother Yasoda, and Nanda Maharaja eagerly wait for His return. This shown by Raga Multani. They aren't depressed, but they are just very anxious in love for His return. Thus, d shows that tenderness, and stability via the strength of P shows that they aren't suffering. Lastly, r is only used in the descent, but r is unbelievably flattened and is close to S that the unskilled ear will not hear the difference, but indeed there is. But that very rare touching of r indicates tenderness yet a little sad. But Krsna has finally returned. It is 6 PM.

The sun is about to set, it is 6 PM, and thus the beginning of the sixth prahar known as the Sayam Lila or evening pastimes. Purvi and Marwa Thats are dominant here. Before we focus on Krsna does, we see that Radha is with Her gopi associates and they discuss about the night which is not too far away. Radha is the embodiment of the Lord's love. As Srila Jiva Goswami sings and as Vallabhacarya confirms, "krsna prema mayi radha." Radha along with Her gopi associates starts remembering their beloved Krsna. This evokes Raga Pilu. Raga Pilu is a very romantic raga and very interesting one, since it has many grace notes. The original swara set is that of Kafi's except the nishad is suddha rather than komal. This is the feeling of romance Radha has in Her heart. But the gopis imagine too, and bring other emotions like anxiety, grief, impatience, doubt, which carries over to Radha. While Radha is feeling the original chalan of the swara set used in Raga Pilu, the gopis' thought are shown by the grace notes or vivadis which changes the mood ever so slightly. Yet this slight change of mood does not destroy the intended story of this raga. As Radha is happily envisioning this upcoming night of love, Krsna is back at home with His parents doing evening prayers in Raga Puriya Dhanasri. This raga has some melancholic nature, but overall it is that of a devotional nature. The S and P have strength in this raga, although the G and N have a special relationship. Overall, S, G, and P indicate a devotional nature. N and G represents a real yearning. P would hold stability its final stability, as this is the last raga before the sun is really starting to set. However, G with d shows a modest and prayerful mood. After prayers are over three sets of people are follow three ragas of the Marwa That. Each of these three ragas have the same swara set, but all three follow entirely different chalans. Lord Krsna is feeling Raga Marwa. Raga Marwa is perhaps the most unstable and has has the most harmonic imbalance compared to any raga. There is no P, which indicates that the sun has set, but in His heart, someone is missing. The inner anxiety felt by the Lord is shown by skipping over S, as S is very weak. When r is slightly sharpened, it is the vadi while D is the samvadi. S can only latch onto D, but even D sounds a bit out of it. This raga has that feeling of Raga Bhupali, since Raga Bhupali has a hidden tan in there. As the Lord is feeling such anxiety through Raga Marwa, Raga Puriya is felt by the cowherd boys. They miss Krsna very much and hope to meet Him the next day to play. It is not as harmonically imbalanced as Marwa since G and N, being vadi and samvadi respectively, are perfect fifths or sadaja-pancham bhava. Their hidden tan is that of Raga Madhyamad Saranga, although their desire is more to play with Krsna as friends, rather than romantic lovers. The cowherd boys, as much as they are loving friends of Krsna, are very tricky. Thus, this trickiness is shown by skipping the S, like Raga Marwa. Lastly, the feeling of the gopis is Raga Sohini. Sohini, like Puriya, has harmonic stability due to the G and D being the vadi and samvadi, respectively. Unlike the two previous ragas, Sohini does not skip S. Rather it skips r in aroha and includes it in the avaroha. Because of this, the hidden tan in this raga s that of Raga Sivaranjani, which both imply a feeling of a love-lorn Krsna. Since the gopis miss Krsna so much, they will call out a love lorn cry. But what can they do? The gopis cannot come to Krsna's house and say, "Hey Krsna! Come with us!" And Krsna cannot leave the house when brother and parents are still awake. The anguish from the hearts of the gopis come especially when r is used with mixing back to S. The "Marwa matrix", because the Lord and his two favorite groups of people, namely cowherd boys and the gopis, best illustrates the latter half of this prahar. It's almost 9 PM. Time for more praying.

The seventh prahar or the Pradosa Lila or nightly pastimes is all about family praying. Kalyan That ragas such as Chaya Nat, Kalyan, Kedar and Yaman are sung, which all pretty much indicate devotion. Raga Yaman is especially sentimental to the Lord, since Raga Yaman is the very raga sung and created by the Yamuna River, Herself. Her raga is sung when Vasudeva is going from Mathura to Nandagaon to give Krsna to Nanda Maharaja. In addition, His midnight pastimes occurs near the Yamuna River. Hearing such a raga will remind Him of that very experience He will feel in the deeper night. After a whole night of devotional songs, bhajans and kirtans, it's time to go to sleep. It's roughly around 11 PM, and Lord is wishing His parents and His dear brother a good night, before He goes to sleep. Raga Khammaja shows the pleasing beautiful nature of the Lord. Krsna is smiling, but in His heart, He is very excited as it is only moments away before He will be with the gopis and even more, with His beloved Radha. This feeling of happy anxiety and wait is shown by the use of n. The house is quiet, and Krsna is sound asleep. Or is he?

The start of the midnight pastimes or Naisa Lila begins. The Lord leaves His home and Raga Darbari Kanhada sings of this. Even though Raga Darbari Kanhada is a raga invented by Tansen Miyan in the fifteenth century, this raga beautifully describes the Lord leaving home. Andolan is found on g and d, but an extra flattened g indicates the happy feeling of the Lord yet filled with passion. In fact, g and d are never even played, but a super sharpened R reaching the weakest g and super sharpened P reaching to the weakest d is used. This special technique causes g and d to be vadi and samvadi. Even as impatient feelings conquer the Lord, Raga Adana, using Madhyamad Sarang's aroha and Darbari Kanhada's avaroha is sung. Unlike Darbari Kanhada, Raga Adana does not have andolan on any swar, because the Lord is so eager. The mood suddenly shifts as He enters the forest and Raga Bagesri of the Kafi That takes over. The Lord's maneuvering through the forests of Vrndavana is shown by the dominance in m and occasional touch of P. After the sixth prahar, anxiety diminished as prayers took place in the seventh prahar, and love takes place in this prahar. Finally, after crossing the forest with Bagesri's melody. He finally comes to see his beloved Radha and His dearest gopis. This feeling of sheer excitement is dominated by Raga Jaya Jayawanti. Like Raga Pilu, this has many grace notes. Unlike Raga Pilu, the grace notes support the original notes of the raga and thus support the mood of sheer joy amongst everyone. The show for the Divine Couple has begun! The gopis start singing many songs and give many jokes to entertain the Divine Couple. They sing songs of the Kafi That. This is why many bhajans of Radha Krsna are sung in any raga of the Kafi That. Finally, joking and giggling and laughing come to a halt. Gopis now sing Raga Malkauns for permission to take part in the Rasa dance. Raga Malkauns is a devotional raga which is usually sung when requesting permission or asking a favor from the Lord. Even when doing that much, glorification of the Lord takes place with this powerful raga. The greatest force of power comes from m which means peace and S meaning happy attainment. This raga was actually used by Parvati to calm Lord Siva down from his anger. With this fervent prayer, Lord Krsna, ironically refuses. He asks the gopis to leave back home. The gopis feelings of enduring hope and sadness has been justified by none other than Raga Bihag. The use of two madhyams nonchromatically indicate melancholy and the slight pinch of D, embracing N and P describe the feeling of possible happiness and the strengthening of N assures Krsna that this is not a joke. The Lord finally accepts and thus the Rasa dance starts, In the first half of the dance is sung in Raga Vrndavani Sarang and Dipak to enflame the feelings in the heart. The dance continues in sweetness while hearts are flamed with passion and love, since each gopi wants Krsna. The second dance cools those hearts, when Krsna replicates Himself into many forms and Raga Megha is sung. Raga Megha is when the Rasa dance gets very intense. The hearts are cooled down with the Love of the Krsna. Megha has the same swar set as Madhyamad Sarang, but it is now past midnight, and everyone is dancing. Radha and Krsna are in the center and They can freely express Themselves without worry. R is the vadi and P is the samvadi. The n is flattened than Madhayamad Sarang. The combination of R, P, and n forms a special feeling of thunder and rain. R will receive a special andolan that will link to S. This will indicate the following of rain water calming the results of Raga Dipak being sung.

The last hour of the prahar is the most upsetting, as Krsna and Radha must separate. Raga Kalingada of the Bhairava That adequately explains this feeling. They express Their enjoyment They just had and just an environment of love. Often, Basant Mukhri is used considering n is used instead of N. Even Raga Bairagi, the song of renunciation, can express how Radha and Krsna are seeing each other but leaving. They retire to their homes ans sleep. It is not long until Lalita comes to wake Them up. Thus a new day starts.