The beauty of the raga will not be marred by the time of the day it is sung. It is the psychological association with the time that goes with the mood of the raga. The object of a raga is to express a certain emotional mood and sentiment without any reference to time and season. For a student of classical music, this classification may give an idea as to how to base his reasons for the traditional usage of ragas.

Following are various ragas, their thaaths and the time the raga is usually sung...and the chants of Siddha Yoga which are based on these ragas. The feelings they invoke are taken from the jackets of cassettes and cds of theses chants..

Bhairavi - Bhairavi - Any Time (usually early morning)
"..evokes inner steadiness and a deep longing for God"
*Hare Rama Hare Krishna
*Hari Hari Bol
*Jay Jay Ram Krishna Hari
*Jay Jay Vitthala
*Krishna Govinda Govinda Gopala
*ONS-four part

Dhani - Kafi - Any Time
"..associated with the abundance and vibrancy at the heart of life. It attunes us to the very source of dynamic energy, which springs forth to create and renew all things. This raga has the power to evoke unwavering happiness, great courange and confident strength."
*ONBM

Kafi - Kafi - Any Time
*Samba Sadashiva
*Shivaya Namah Om

Mand - Bilawal - Any Time
"the joyful, light and warm nature of the Mand raga.."
*Kali Durge
*ONBM

Piloo - Kafi - Any Time (usuallly early evening)
"light raga"
*Jay Jay Muktananda
*Raghupati Raghav RajaRam

Sindhu Bhairavi
(retains all the mannerisms of the parent Bhairavi with the rishab augmented to its shuddha shade)
*Jay Jay Vitthala

-----------------------

Bilawal - Bilawal - Morning
"qualities of divine love and compassion, and the anticipation of preparing oneself to meet the Lord. Joy, repose, tenderness and prayer."
*Devakinandana Gopala
*Govinda Jaya Jaya
*Parvati Vallabha Namah Shivaya
*Sri Krishna Chaitanya
*ONBM

Gurjari Todi - Todi - Morning
*ONBM

Shiv Bhairav
"evokes the tenderness of the new day and the grandeur of the rising sun. it conves the mood of gentle stillness, within which blazes intense yearning and devotion"
*ONS

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Bhimpalasi - Kafi - Afternoon
"evokes traquility and a mood of prayerful yearning"
*He Bhagwan
*ONS
*ONBM

MadhyamadSarang - Kafi - Afternoon
*ONS-6 beats taal

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Bhupali - Kalyan - Evening
"majestic raga "
*ONS
*ONBM
*Ram Krishna Hari

Desh - Khamaj - Evening
evokes joy and lightness
*He Govinda He Gopala
*Sri Gurudev Sharanam

Khamaj - Khamaj - Evening
*ONBM

Pahadi - Bilawal - Evening
*Panduranga Vitthale

Yaman - Kalyan - Evening
has been described as joyful, stately and auspicious
*Nityanandam Brahmanandam
*Om Guru Jaya Guru
*ONS-fast version
*Om Shiva Om Shiva

Yaman Kalyan - Kalyan - Evening
"has been described as joyful, stately and auspicious "
*Jay Jay Vitthala Panduranga Vitthala
*Rama Raghava

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Darbari - Asavari - Night
"inspires feelings of longing for God"
*Jaya Jaya Shiva Shambho
*Om Gurudev
*ONS

Darbari Kanada - Asawari - Night
"evoke the deep stillness and peace of midnight"
*Mere Baba Muktananda
*Om Bhagwan

Jhinjhoti - Khamaj - Night
*Hare Rama Hare Krishna
*ONBM-Ganeshpuri version

Malkauns - Bhairavi - Night
"the raag is said to have evolved when Lord Shiva performed The Taandava dance. The raag thus evokes a feeling of vigour or we can say this Raag is a VEER rasa raga. And as traditions in Indian classical music ascribes this vigour and veer rasa is not the veer rasa of the battlefield but a sense of conquering the self and reaching a state of inner satisfaction"
*ONBM
*Sri Ram Jay Ram

Megh Malhar - Kafi - Night
*ONS

Tilak Kamod - Khamaj - Night
evokes joy and confidence
*Narayana

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There are some chants for which the ragas are not specified or the raga is a SYraga (not formally recognized)

Jivanpuri (?)
evokes an exquisite sense of longing for God. This raga is both luminous and tender, its melody evocative of prayer, of calling out to the Lord. *Jay Jay Ram Krishna Hari
*ONBM

Prabha (?)
*Narayana

*ONS-Classic

Bhakti
*ONBM-SMA version