Description
The degree of popularity of Yaman Kalyan (a.k.a. Jaimani Kalyan) is at times complicated by its definition. The relationship between Yaman, Kalyan, and Yaman Kalyan is not always agreed upon. There are some who posit that they are three separate rags. There are others who posit that they are really all the same rag; this view is reflected in the way light musicians mix them together. However, the most common and intellectually defensible position has Yaman as being the same as Kalyan, but paradoxically different from Yaman Kalyan.
The last position of having Yaman Kalyan as being distinct from Yaman (a.k.a. Kalyan) is the most common, and will be the one that we adhere to in this website.
Yaman Kalyan strongly resembles Yaman (Kalyan). The biggest difference is a weak use of Shuddha Ma in the descending structure. Furthermore, there are some (e.g., Rao 1985) who state that it is possible in the ascending sequence to go directly from Sa to Re; this is strongly discourage in Yaman, where the tendency is to ascend as N.i Re Ga.
Arohana
(general discussion of arohana) – (general discussion of notation)
Avarohana
(general discussion of avarohana)
Jati
Sampurna – Sampurna – (general discussion of jati)
Vadi
Ga – (general discussion of vadi)
Samvadi
Sa – (general discussion of samvadi)
Time
First part of night (6:00pm-9:00pm) – (general discussion of time and rag)
That
Kalyan That – (general discussion of that)
Drone
Sa – Pa– (general discussion of drone)
Popular Songs
Film songs in Rag Yaman Kalyan
Selected Video
Other Sites of Interest
Indian Classical Music: Tuning and Ragas
Modes and Ragas: More Than just a Scale
Emotional responses to Hindustani Raga music: The role of musical structure
Automatic Raga Recognition in Hindustani Classical Music
Patrick Moutal. A Comparative Study of Selected Hindustānī Rāga-s based on Contemporary Practice
Automatic Tonic Identification in Indian Art Music: Approaches and Evaluation