Yaman (raga)

Yaman emerged from the parent musical scale of Kalyan. Considered to be one of the most fundamental and basic 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. None of the three great treatises of music, accept the existence of ma,[text missing] 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 Vadi and samavadi Vadi is ga, Samvadi is ni. Pakad 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). Organization and relationships There is some discussion as to whether Yaman and Kalyan are just different names for the same raga, or that they are actually two distinct ragas. Joep Bor says "Kalyan (today usually referred to as Yaman)". Kaufmann 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 (Ma+ is used as in Kalyan). S. Bagchee agrees with Kaufmann. As Bor, Kaufmann and Bagchee are not practising, professional and traditional musicians and artistes with training from qualified musicians, their opinions and observations must be accepted with a pinch of salt. An analysis of the raag leads some musicians to believe that the names of the raags Yaman and Kalyan are different, so their tonal movements shall be different (Kalyan is more akin to shuddha Kalyan, not Yaman). People erratically believe that if natural Ma is occasionally added in a concluding figure leading to Sa, the raga is known as Yaman-Kalyan. Practically, yaman has a raganga very 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 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 • Shankaraa 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 • Yaman Chhaya Thaat: Kalyan is type raga of Kalyan thaat. In thaat Kalyan, all notes are shuddha (natural) except (sharp) Ma. Behaviour Yaman is regarded one of the grandest and most fundamental ragas in the hindustani tradition. 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" This raga promotes romanticism, It sounds romantic, we can see in Bollywood many romantic songs are based on this raga. == Historical information ==