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

Yaman kalyan

Yaman (vide), also known as Kalyan is one of the grand rag-s that have stood the test of time and its grandeur is popular with vocalists, instrumentalists, beginners, amateurs and mature artists. A variety of Yaman including natural Ma is known as Yaman kalyan. The rag is also known as Jaimini kalyan (Patwardhan [Rag vidnyan II] 1970: 148 & Thakur [Sangitanjali III-2] 1979: 34-35).

Tone material: S R G m M P D N

Most movements are similar to Yaman. The ascent generally begins with lower Ni and in the direct descent both Sa and Pa are omitted. They can however occur as the ending notes in ascending phrases like M D N S and R G M P. Ga and Ni are important notes and can be sustained whereas Pa is a prominent resting point. Sharp Ma is more prominently used as compared to the natural Ma, which is occasionally included in a concluding movement between two Ga-s like G m G.

Some characteristic phrases:
R G m G RG R

N R G M P \R G –


Time: early night (Bhatkhande [KPM II] 1952: 30)

Further listening:
Recording by Bhimsen Joshi
Recording by Shobha Gurtu

Performance by Ajoy Chakrabarty

Composition: bada khayal

ये मंदरमें (मंदिरमें)
गाये सब गुनी
राग मनमानी सुहानी

सुंदर रुप मनमें देखी
जैसे बिती हुयी शाम की कहानी

Poet imagines a temple in which the learned musicians are singing away the rag of their choice.
Tal: Ektal (slow tempo)


3-7: Performance opens on the lower Ni, an important note in this rag
16-33: Ni is sustained again and the following movements approach the lower Pa first and then Sa. Note a glide M /DS
36-43: Re in introduced, followed by a phrase including Ga – N G R G
53: Composition begins. Refrain includes a typical movement – N D N RS N DP. Note the accentuated beat of the 12-beat rhythmic cycle coinciding with lower Ni, emphasising the same
86-88: The composition includes the characteristic phrase – R G m G at the end of the line, just before the refrain
100: The same line repeats with some variation. The typical phrase recurs at the end of the line (123-104)
136: Having completed the first half of the composition (sthayi), improvisations in the lower and middle octave using words of the composition (bol alap).
161-164: Concluding phrase including natural Ma
173-201: The first part of the composition with some variations. Note the characteristic phrase with natural Ma at (194-196)
210: Improvisation continues in the middle octave with a focus on Pa. Slowly the emphasis shifts higher to Ni (245-246)
264-265: Again the phrase with natural Ma to round off the cycle. Note the variation in the refrain each time to break the monotony
282: Focus is on middle Ni. Note the contrst created by reaching the lower Ni (296-297)
306-307: Natural Ma in the finishing phrase
324: High Sa is reached to introduce the second section of the composition (antara)
411: Concluding phrase including natural Ma

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