The Automated Transcription for Indian Music (AUTRIM) Project by NCPA and UvA

Shyam kalyan

Shyam kalyan is a popular rag of the Kalyan family.

Tone material: S R G m M P D N

The ascent is pentatonic where Ga and Dha are avoided. The use of natural Ma is restricted to  phrases such as G m \R S and m \R. Sharp Ma and Ni are important notes in this rag. In fact, Ni could be the leading note for the ascent. Re is emphasised, and Pa is a resting note.

Some characteristic phrases:

M P G m \R
G m P G m \R

Rag Shuddh sarang and Shyam kalyan have some similarity; although the former doesn’t include Ga. The concluding phrase – G m R S helps to maintain the impression of Shyam kalyan. Although this phrase also occurs in rag Kamod, dominance of sharp Ma and Ni in Shyam kalyan gives it a distinct character.

Time: evening (Thakurdas [Rag darshan I] 1987: 156)

Further listening:
Manik Verma INRECO 2411-5038
Recording by Roshan Ara Begum
Recording by Vilayat Khan
Parrikar on Shyam kalyan

Performance by Mashkoor Ali Khan

Composition: chhota khayal

निंद न अावे
पिया बिन देखे
अाली मोहे कैसे के परे अबके न

घरी घरी पल पल
जुगदी लगत हैं
मग जोहत (जोवत) राहें न

Until I see my beloved I cannot sleep. While I wait for him, each moment seems like an era.

Tal: Tintal (medium tempo)

3-9: Performance opens with sustained Ni in the lower octave
19-28: Re is sustained and the movement ends on lower Ni. These phrases can give impression of Shuddh sarang
41-68 : However this is dispelled by several phrases including Ga, Note several variations of the movement – G m \R
71: Sustained Pa, followed by a glide between lower and middle Pa
90-96: Unusual movement connecting Ga with sharp Ma. Normally the sharp Ma is approached from Re. Similar movement recurs (98-99)
118: Composition begins. Note the refrain including the characteristic movement – P G m R and the accentuated beat (sam) of the 16-beat rhythmic cycle coinciding with Re
140: Second line
166: First part of the composition (sthayi) is repeated with some variation
193: Second part of the composition (antara)
210: Concluding line of the composition
249: Elaborations using words of the composition (bol alap)
363: Elaborations continue and reach the high Sa and beyond up to high Pa
420-425: Symmetrical phrases -S R S (in high octave) followed by P D P & S R S in the middle octave
447: Elaborations continue with words of the composition

Performance by Ajoy Chakrabarty

Composition: chhota khayal

दिया जले
भकतन अाये सब तीरथ

अतर सुगंध
छाये चहू दिस
सुंदर लागे
श्याम मुरत

All devotees have assembled in the temple to see the beautiful idol of Krishna (Shyam). The atmosphere is filled with fragrance of incense.

Tal: Dhamar (medium tempo)

4-8: Performance begins with a sustained lower Ni, merging in to Sa
19-25: Pa is sustained, followed by G m R, typical movement for Shyam kalyan
30: Similar movement to the above. Note the glide from Re to Pa
40: Composition starts. Note the refrain including characteristic movement P G m R and the accentuated beat (sam) of the 14-beat rhythmic cycle coinciding with Re (having a touch of natural Ma), an important note in this rag
74-112: First line is repeated with some variations
116: Elaborations using words of the composition (bol alap)
210: Similar elaborations continue with higher notes
242: First line of the second part of the composition (antara)
267: Elaborations using solfeggio (sargam)
292: Back to the first line of the second part of the composition
306: One more cycle of elaboration
319: Concluding line of the composition


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