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Yaman (raga)

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Yaman
ThaatKalyan
TypeSampurna
Time of dayEarly night, 6–9
Season1
ArohanaNi Re Ga Ma(tivra Ma i.e. Ma#) Pa Ma# Dha Ni Sa'(upper octave)
AvarohanaSa' Ni Dha Pa Ma Ga Re Sa
PakadNi-Re-Ga-/Re-Ma-Pa-/Ma-Pa-Dha/Dha-Ni-Sa'
VadiGa
SamavadiNi
SynonymKalyan
Equivalent
SimilarYaman Kalyan

Yaman (also known as kalyaan, Iman, Aiman,'Eman', 'Kalyani' in Carnatic classical music) is a heptatonic (Sampurna) Indian classical raga of Kalyan Thaat. Yaman is said to be a creation of Ameer Khusro (1253–1325), but latest research reveals that he might have got the inspiration of raag yaman from folk melodies of north India akin to the song form Banaaras-Mirzapur chaiti or the song like 'Sautan ghar na jaa, na jaa more saiyaan'. Music treatises mention that Ameer Khusro made yaman mixing raag hindol and a Persian melody called 'nairez'. citation required? The scale of yaman can be realized from gaandhaar murchhanaa of Shadja graam mentioned in Naatya Shaastra of Bharat some two thousand years ago. The scale of yaman matches with the notes and tones of gaandhaari jaati explained by Bharat. Its notes are SRGmPDN with most repeated melodic centres like G, m, N and 'S as well as P that has limited application in the ascent'. Its signature phrases can be N,RGR N,RS N,D,N,S,N,---- m,N,D,S N,RS-- GRGmG---- RGRm GRG mDND mRG PmGR GRS---- . Tonal movements of the notes mostly reflect zigzag motion with gap of one or several notes usually that prefer reverse order very often like DNS' mDN GmD RGm N,GR or MDNS' GmDN RGmD N,RGm D,N,GR etc . Ideally yaman should not use PR combination but can use P~R showing colour of m or G while gliding from P to R, for PR is one of the specific identification of raag kalyaan.

Description

Yaman emerged from the parent musical scale of Kalyan. Considered to be one of the most fundamental ragas in Hindustani tradition, it is thus often one of the first ragas taught to students.

Mechanics

Yaman's Jati is a Sampurna raga (ideally, yaman is audav sampoorna raag because of the structure- N,RGmDNR'S' NDPmGRS) and in some cases Shadav; the ascending Aaroha scale and the descending style of the avroha includes all seven notes in the octave (When it is audav, the Aroha goes like N,RGmDNS', where the fifth note is omitted; Pa but the Avaroha is the same complete octave). All the scale notes (called swaras) in the raga are Shuddha, the exception being Teevra Madhyam or prati madhyamam (sharp fourth). The notes of the raga are considered analogous to the western Lydian mode, which was the predominant scale used in classical antiquity, before being usurped by those of the pre-Modern era.

None of the three great treatises of music, accept the existence of tivra ma,

Not to be mistaken, Raag Yaman is slightly different from Raag Yaman Kalyan. Both have almost the same base, but they are sung differently. The Aroha and Avaroha of Yaman Kalyan goes like this: SRGmPDNS' S'NDPm GMGRN,RS[clarification needed]

Vadi and samavadi

Vadi is ga, Samvadi is ni

Pakad or chalan

It is wrong to say that Kalyan has no specific phrases or particular features, many musicians avoid Sa and Pa in ascend or treat them very weakly in yaman. One often applies N0 R G M+ D N S' in ascent and S' N D M+ G R S in descend[1]).
Sa is avoided in beginning the ascend such as N0 R G M+ P D N S'

Organization and relationships

There is some discussion whether Yaman and Kalyan really just are different names for the same raga, or that these are actually 2 ragas. Joep Bor says "Kalyan (today usually referred to as Yaman)",[2] Kaufmann[3] says that Yaman and Kalyan are just different names, but insists that rāga Yaman-Kalyan is different as natural Ma is occasionally inserted between two Ga, like Ga Ma Ga Re Sa, while in all other instances tivra Ma (Ma+ is used as in Kalyan). S. Bagchee[4] agrees with Kaufmann. As Bor, Kaufmann and Bagchee are not practising, professional and traditional musicians and artistes with training from qualified musicians for several hundred (+practising) hours and knowing a few dozens of bandishes/ compositions of north Indian Hindustani classical music in raag yaman, thus their opinions and observations needs to be accepted with a pinch of salt. A sensible analysis of large data of the raag, honesty and truthful introspection lead any sane musicians to think, that the name of the raags Yaman and Kalyan are different so their tonal movements shall be different for Kalyan is more akin to shuddha Kalyan not Yaman in any case. The influence of Kalyani of Carnatic and almost blind following of Pt. Bhatkhande as well as unquestionable trust and faith to guru (music teachers) caused this confusion. People erratically believe that if natural Ma is occasionally added in a concluding figure leading to Sa, the raga is known as Yaman-Kalyan.[2] Practically, yaman has a raganga very much different from Kalyan raganga resembling colours of Shuddha Kalyan. The use of shuddha ma must be restricted as a Vivadi swara (limited use) or grace note for Yaman Kalyan otherwise there is a chance of it becoming Yamani, Yamani Bilawal, Jaimini Kalyan. Moreover, neither of Kalyan or Yaman has Shuddha Ma in its main body thus use of shuddha Ma does not create Yaman Kalyan. Ideally there is no raga at all in Indian music that is recognized as any type of Kalyan because of shuddha Ma, thus raga Yaman Kalyan becomes a misnomer or pure lie because of Shuddha Ma in the tonal structure of raga Yaman.
Kalyan is mixed with several ragas that has either of Kalyan ang or Yaman ang:

  • Adbhut Kalyan
  • Anandi Kalyan
  • Bhog Kalyan
  • Bhoop Kalyan
  • Bilas khani Kalyan
  • Chandra Kalyan
  • Chhaya Kalyan
  • Deepak Kalyan
  • Gaud Kalyan
  • Gorakh Kalyan
  • Hameer Kalyan
  • Hem Kalyan
  • Hindol Kalyan
  • Husseini Kalyan
  • Jaimini Kalyan
  • Jait Kalyan
  • Kamod Kalyan
  • Kedar Kalyan
  • Kesari Kalyan
  • Khem Kalyan
  • Kohri Kalyan
  • Laxmi Kalyan
  • Maru Kalyan
  • Miyaan ki Kalyan
  • Nand Kalyan
  • Nat Kalyan
  • Panch Kalyan
  • Poorva Kalyan
  • Puriya Kalyan
  • Pyaar Kalyan
  • Raam Kalyan
  • Raini Kalyan
  • Ravi Kalyan
  • Saraswati Kalyan
  • Shankar Kalyan
  • Shankara Kalyan
  • Shiv Kalyan
  • Shree Kalyan
  • Shuddha Kalyan
  • Shyam Kalyan
  • Sohni Kalyan
  • Yaman Kalyan

Yaman raga mixing in other ragas:

  • Kalavati Yaman
  • Yaman Bhopali
  • Yamani
  • Yamani Basant
  • Yamani Bilawal
  • Yamani Hindol
  • Yamsan Chhaya

Thaat: Kalyan is type raga of Kalyan thaat. In thaat Kalyan, all notes are shuddha (natural) except teevra (sharp) Ma.

Behaviour

Yaman is regarded [by whom?] one of the grandest and most fundamental [peacock prose] ragas in Hindustani music. It is one of the first ragas taught to students but it also has great scope for improvisation. Raag elaboration can focus more on mandra and madhya saptak, thus the key note chosen for yaman is preferred to be a higher tone.

Samay (time)

Ragas in the Kalyan thaat, including Yaman, should be performed during the first quarter of the night.

Rasa

Kalyan is described by Meshakarna(1570) as "lord in white garments and pearl necklace on a splendid lion-throne, under a royal umbrella, fanned with whisk, chewing betel"[2]

This raga promotes romanticism, It sounds romantic, we can see in bollywood many romantic songs are based on this raga.

A song text is:[2]

Hey friend, without my lover
I don't find peace
At any moment of the day;
Since my lover went away
I spend my nights counting the stars

Historical information

It is said that raag yaman was created by Ameer Khusro (1253–1325) by mixing Hindol and a Persian melody called Nairez, but raag yaman seems to be an inspiration of the folk songs of North India, like 'Sautan na jaa, na jaa more saiyaan'. Yaman is not an ancient raga. It is first mentioned in the literature in the late 16th century, by which time it was very popular: The Sahasras contains 45 dhrupad song-texts for Kalyan and five for Iman-Kalyan. According to Venkatamakhin(1620), Kalyan was a favourite melody to the Arabs, and Pundarika included Yaman among his 'Persian' Ragas.[2]

Famous compositions of raag yaman are:

  1. Mora jobana navelaraa bhayo hai gulaal-Ameer Khusro Aashaq rang
  2. Ari eri ali piya bina- Abdullah Khan
  3. Piya ki najariya jadu bhari
  4. Sadaa shiv bhaj manaa nisdin
  5. Guru binaa kaise gun gaawe-Miyaa Achapal
  6. Keh sakhi kaiise kariye bhariye ji
  7. Langar turak ji na chhivo
  8. Kinaare kinaare kinaare kinaare dariyaa-Sukh rang
  9. Mori gagariya bharan na de
  10. Ari o mendi aakhadi
  11. Kajaraa kaise daaroon- Amir Khan Sur rang
  12. Aao Aao Aao Balma- Ghulam Mustafa Khan
  13. Aiso sughar sundaravaa balamuvaa- Amir Khan Sur rang
  14. Man Har Lino Piya Pyare- Ghulam Sadiq Khan
  15. Sumaran toraa too karim rahim rahmaan-Nyaamat Khan Sadaa rang
  16. Aaj bajaai shaam muraliyaa
  17. Tori najariyaa laage pyaari- Dinkar Kaikini Din rang
  18. Kesar ghor ke anga lagaaoon
  19. Mai vaari vaari jaaungi preetam pyaare- Vilayat Husain Khan Praan piyaa
  20. Sumaran karoon mai toraa
  21. Salona re baalam moraa
  22. Diyaraa mai vaarungi dhiyaa ke
  23. Banare balaiyaa leungi
  24. Palakhan se mag jhaaroon re maai
  25. Sab gunijan iman gaat- VN Bhatkhande Chatur
  26. Jiyo karo kot baras lo
  27. Eri laal mile
  28. Moraa man har lino daiyaa-
  29. Sajan gal baain endi endi dole
  30. Mukut par vaari jaaunnaagar nandaa
  31. Aale nabi aulaade ali par vaar vaar jaau
  32. Sohela nand ke gaavo bajaao
  33. Charanan sukh chiranjiva -Taansen
  34. Kal nahi aaye mori aali- Bhaiya Ganpat raao Scindia Sughar piyaa
  35. Aawo aawo aawo balamaa- Ghulam Mustafa Khan Ras rang
  36. Ghat ghat me panchi boltaa- Kabir, singer Kishori Amonkar
  37. Ranjish hi sahi dil hi dukhaane ke liye aa-singer Mehdi Hasan
  38. sajani ri nis jaagat jaagat biti-Fayyaz Ahmed Gunrang
  39. Taran taaran tom tan derena- Ramkrishna Das Nad rang
  40. Daani tadeem tana derena
  41. Jiya le gayo ji moraa saanwariyaa
  42. Pratham tulaa vandito
  43. Jaa re badaraa bairi jaa
  44. Mana re tu kaahe na dheer dhare
  45. Nigaahe milaane ko ji chaahtaa hai
  46. Radhadhar madhu milinda
  47. Aansu bhari hai ye jiivan ki raahen
  48. Chandan saa badan chanchal chitavan
  49. Saarangaa teri yaad me
  50. Aapke anurodh pe
  51. Jab deep jale
  52. Re man sur me gaa
  53. Sukh daataa saban ke shankar-Balwantrai Bhatt bhaav rang

Origins

Important recordings

Film songs

Tamil

Song Movie Composer Singer
Sindhanai Sei Maname Ambikapathy G. Ramanathan T. M. Soundararajan
Ennarumai Kadhalikku Vennilaave Ellarum Innattu Mannar T. G. Lingappa
Vennila Vaanil Varum Mannippu S. M. Subbaiah Naidu T. M. Soundararajan, P. Susheela
Mannavan Vandhaanadi Thiruvarutchelvar K. V. Mahadevan P. Susheela
Naan Anuppuvadhu Pesum Dheivam T. M. Soundararajan
Kan Pona Pokile Panam Padaithavan Viswanathan-Ramamoorthy
Naan Enna Soliviten Bale Pandiya
Athikkai Kai Kai T. M. Soundararajan, P. B. Sreenivas, P. Susheela, Jamuna Rani
Indha Mandrathil Odi Varum Policekaran Magal P. B. Sreenivas, S. Janaki
Kalaimangai Uruvam Kandu Maganey Kel Sirkazhi Govindarajan, M. L. Vasanthakumari
Mugathil Mugam Paarkalam Thanga Padhumai T. M. Soundararajan, P. Leela
Vetkamaai Irukudhadi Paar Magaley Paar P. Leela, Soolamangalam Rajalakshmi
Paar Magale Paar T. M. Soundararajan, M. S. Viswanathan
Maalai Soodum Mananaal Nichaya Thaamboolam P. Susheela
Thulli Thirintha Kathiruntha Kangal P. B. Sreenivas
Isaikettal puvi Thavapudhalavan M. S. Viswanathan T. M. Soundararajan
Madhurayil Parantha Poova Thalaiya
Kettadhum Koduppavane Krishna Deiva Magan
Chithirai Maadham Raman Ethanai Ramanadi P. Susheela
Kannan Vandhan Ramu Seerkazhi Govindarajan, T. M. Soundararajan
Azhagenum Ooviyam Oorukku Uzhaippavan K. J. Yesudas, P. Susheela
Varuvaan Vadivelan Varuvan Vadivelan Vani Jairam
Then Sindhuthey Ponnukku Thanga Manasu G. K. Venkatesh S. P. Balasubrahmanyam, S. Janaki
Sundari Kannal Oru Seithi Thalapathy Ilaiyaraaja
Yamunai Aatrile Mitali Banerjee Bhawmik
Vellai Pura Onru Puthukavithai K. J. Yesudas, S. Janaki
Kannale Kadhal Kavithai Athma
Vaidhegi Raman Pagal Nilavu S. Janaki
Janani Janani Thaai Mookaambikai Ilaiyaraaja
Maname Avan Vazhum Pagalil Pournami
Nathiyil Aadum Kaadhal Oviyam S. P. Balasubrahmanyam, S. Janaki, Deepan Chakravarthy
Devan Thantha Veenai Unnai Naan Santhithen S. P. Balasubrahmanyam (Solo Ver), (P. Jayachandran, S. Janaki) (Duet Ver)
Oru Vanavil pole Kaatrinile Varum Geetham P. Jayachandran, S. Janaki
Devan Kovil Deepam ondru Naan Paadum Paadal S. N. Surendar, S. Janaki
Aararo Aararo Anand Lata Mangeshkar
Malaiyoram Mayile Oruvar Vaazhum Aalayam Malaysia Vasudevan, K. S. Chitra
Siru Koottile Ulla Paandi Nattu Thangam K. S. Chitra, Mano
Naan Embathu Nee Allava Soora Samhaaram Arunmozhi, K. S. Chithra
Odai Kuyil Oru Thalattu Padava
Amma Endruzhakatha Mannan K. J. Yesudas
Kalaivaniye Sindhu Bhairavi
Oru Maalai Chandiran Unnai Vaazhthi Paadugiren S. P. Balasubrahmanyam, Minmini
Kaatril Varum Geethame Oru Naal Oru Kanavu Ilaiyaraaja, Hariharan, Shreya Ghoshal, Sadhana Sargam, Bhavatharini
Nirpathuve Nadapathuve Bharathi Harish Raghavendra
Yaar Veetil Roja Idaya Kovil S. P. Balasubrahmanyam
Vanthal Mahalakshmi Uyarndha Ullam
Vizhigal Meeno Raagangal Maaruvathillai
Aazh Kadalil Raagam Thedum Pallavi T. Rajendar
Pasamalare Neethibathi Gangai Amaran T. M. Soundararajan, P.Susheela
Vaigai nathiyil oru Paravai Natchathiram Shankar–Ganesh S. Janaki
Yaradhu Sollamal Nenjalli Nenjamellam Neeye Vani Jairam
Om Ganapathiye Ganapathiye Marumagal Chandrabose Vani Jairam & Chorus
Varaga Nadhikaraiyoram Sangamam A. R. Rahman Shankar Mahadevan
Azhagu Nilave Pavithra K. S. Chitra
Enthan Vaanil Kadhal Virus S. P. Balasubrahmanyam, Swarnalatha (Humming only)
Kadhal Niagara En Swasa Kaatre Palakkad Sreeram, Harini, Annupamaa
Neethan En Desiya Geetham Paarthale Paravasam P. Balram, K. S. Chitra
Sakthi Kodu Baba Karthik
Methuvagathan Kochadaiiyaan S. P. Balasubrahmanyam, Sadhana Sargam
Ey Maanburu Mangaiye Guru Srinivas, Sujatha Mohan, A. R. Rahman
Yaarumilla Thaniarangil Kaaviya Thalaivan Swetha Mohan, Srinivas
Kathal Ennum Keerthanam En Aasai Rasathi Dr. Chandilyan S. P. Balasubrahmanyam, K. S. Chitra
Mudhan Mudhalil Aahaa..! Deva Hariharan, K. S. Chitra
Gokulathu kanna Gokulathil Seethai S. P. Balasubrahmanyam, K. S. Chitra, Deva
Enthan Uyire Enthan Uyire Unnaruge Naan Irundhal Krishnaraj, K. S. Chitra
Katrin Mozhi Mozhi Vidyasagar Balram, Sujatha Mohan
Pudhu Malar Thottu Poovellam Un Vasam Sriram Parthasarathy
Naan Mozhi Arindhen Kanden Kadhalai Suresh Wadkar
Oru Theithi Paarthal Coimbatore Mappillai Hariharan, Sadhana Sargam
Yen Pennendru Love Today Shiva Mohammed Aslam, Bombay Jayashri
Kaadhal Aasai Anjaan Yuvan Shankar Raja Yuvan Shankar Raja, Sooraj Santhosh
Never let me go Pyaar Prema Kaadhal Suranjan, Shweta Pandit
Vizhigalin Aruginil Azhagiya Theeye Ramesh Vinayakam
Kannanai Thedi Marupadiyum Oru Kadhal Srikanth Deva Shreya Ghoshal
Mun Andhi 7aum Arivu Harris Jayaraj Karthik, Megha
Mellinamae Mellinamae Shahjahan Mani Sharma Harish Raghavendra
Ennena Seidhom Ingu Mayakkam Enna G. V. Prakash Kumar
Yen Aala Paakkaporaen Kayal D. Imman Shreya Ghoshal, Ranjith
Sara Sara Saara Kaathu Vaagai Sooda Vaa Ghibran Chinmayi

References

  1. ^ Kaufmann(1968)
  2. ^ a b c d e Bor 1997
  3. ^ Kaufmann 1968
  4. ^ Bagchee 1998

Literature

Bor, Joep (1997), The Raga Guide, Charlottesville,Virginia: Nimbus Records
Kaufmann, Walter (1968), The Ragas of North India, Calcutta: Oxford and IBH Publishing Company.
Bagchee, Sandeep (1998), Nād, Understanding Rāga Music, Mumbai: Eshwar (Business Publications Inc.).
Bhatt, Balvantray (1964–1974), Bhāvaranga, Varanasi: Motilal Barnasidas.
Gandharva, Kumar (1965), Anūparāgavilāsa, Bombay: Mauj Prakashan.
Patwardhan, Vinayak Rao (1961–74), Rāga Vijñāna, Poona: Sangeet Gaurav Granthamala.
Srivastava, Harichandra (1973–79), Rāga Paricaya, Allahabad: SangeetSadan Prakashan.
Telang, Gokulanand; Bhartendu, Banwari Lal (1962), Sangīta Rāga Aṣṭachāpa, Hathras: Sangeet Karyalaya.
Thakar, Vasant Vaman, Sangīta Rāga Darśana, Prayag: Gandharva Mahavidyalaya Mandal Prakashan.
Rao, B. Subba (1964–66), Raganidhi, Madras: Music Academy.
Bhatt, Jivanlal (1950), Sangeet Parichay, Delhi: Atmaram & Sons.