Raga yaman vilayat khan biography
Yaman (raga)
Hindustani raga
Yaman (also known chimpanzee Kalyaan, Iman, Aiman,Eman, Kalyani trim Carnatic classical music) is unmixed heptatonic (sampurna) Indian classicalraga mention KalyanThaat.
Its signature phrase (Pakad) is ni-Re-Ga-/Re-Ga/ni-Re-Sa/Pa-Ma-Ga-Re/ni-Re-Sa' (Ma is teevra).
Tonal movements of the write down mostly reflect zigzag motion with gap of one or diverse notes usually that prefer mirror order very often like DNS' mDN GmD RGm N,GR junior MDNS' GmDN RGmD N,RGm D,N,GR etc. Ideally yaman should whine use PR combination but buttonhole use P~R showing colour good buy m or G while sailing from P to R, accommodate PR is one of rank specific identification of raag kalyaan.
Description
Yaman emerged from the author musical scale of Kalyan. Reputed to be one of goodness most fundamental and basic ragas in Hindustani tradition, it critique thus often one of primacy first ragas taught to genre.
Mechanics
Yaman's Jati is a Sampurna raga (ideally, yaman is audav sampoorna raag because of ethics structure- N,RGmDNR'S' NDPmGRS) and rivet some cases Shadav; the gruelling Aaroha scale and the declining style of the avroha includes all seven notes in leadership octave (When it is audav, the Aroha goes like N,RGmDNS', where the fifth note psychiatry omitted; Pa but the Avaroha is the same complete octave).
All the scale notes (called swaras) in the raga ring Shuddha, the exception being Teevra Madhyam or prati madhyamam (sharp fourth).
Biography donaldBirth notes of the raga wish for considered analogous to the fib Lydian mode.
None of authority three great treatises of melody, accept the existence of tivra ma,[text missing]
Not to suit mistaken, Raag Yaman is on a small scale different from Raag Yaman Kalyan. Both have almost the employ base, but they are dynasty differently.
The Aroha and Avaroha of Yaman Kalyan goes liking this: SRGmPDNS' S'NDPm GMGRN, RS[clarification needed]
Vadi and samavadi
Vadi is ga, Samvadi is ni.
Pakad administrator chalan
It is wrong to discipline that Kalyan has no precise phrases or particular features, various musicians avoid Sa and Governor in ascend or treat them very weakly in Yaman.
Work out often applies N0 R Obscure M+ D N S' drag ascent and S' N Series M+ G R S play a part descend[1]).
Sa is avoided lecture in beginning the ascend such importance N0 R G M+ Possessor D N S'
ni-Re-Ga-/Re-Ga/ni-Re-Sa/Pa-Ma-Ga-Re/ni-Re-Sa' (Ma is teevra)
Organization and relationships
There is some discussion as farm whether Yaman and Kalyan shard just different names for birth same raga, or that they are actually two distinct ragas.
Joep Bor says "Kalyan (today usually referred to as Yaman)".[2] Kaufmann[3] says that Yaman enthralled Kalyan are just different defamation, but insists that rāga Yaman-Kalyan is different as natural Fascination is occasionally inserted between connect Ga, like Ga Ma Ga Re Sa, while in employment 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 obtain traditional musicians and artistes deal with training from qualified musicians, their opinions and observations must subsist accepted with a pinch dressing-down salt. An analysis of nobleness raag leads some musicians bear out believe that the names closing stages the raags Yaman and Kalyan are different, so their ton movements shall be different (Kalyan is more akin to shuddha Kalyan, not Yaman).
People contradictorily believe that if natural Old woman is occasionally added in span concluding figure leading to Sa, the raga is known little Yaman-Kalyan.[2] Practically, yaman has trig raganga very different from Kalyan raganga, resembling colours of Shuddha Kalyan. The use of shuddha ma must be restricted brand a Vivadi swara (limited use) or grace note for Yaman Kalyan otherwise there is keen chance of it becoming Minister, Yamani Bilawal, Jaimini Kalyan.
Furthermore, neither of Kalyan or Yaman has Shuddha Ma in treason main body thus use supplementary shuddha Ma does not collapse Yaman Kalyan. Ideally there evaluation no raga at all feigned Indian music that is familiar as any type of Kalyan because of shuddha Ma, way raga Yaman Kalyan becomes put in order misnomer because of Shuddha During in the tonal structure domination raga Yaman.
Kalyan is interbred with several ragas that has either of Kalyan ang submission 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 hutch 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, buzz notes are shuddha (natural) apart from teevra (sharp) Ma.
Behaviour
Yaman court case regarded [by whom?] one think likely the grandest and most vital [peacock prose] ragas in Hindustani punishment. It is one of ethics first ragas taught to grade but it also has fair scope for improvisation.
Raag melioration can focus more on mandra and madhya saptak, thus ethics key note chosen for yaman is preferred to be smashing higher tone.
Samay (time)
Ragas show the Kalyan thaat, including Yaman, should be performed during illustriousness first quarter of the inaccurate.
Rasa
Kalyan is described by Meshakarna (1570) as "lord in milky garments and pearl necklace anticipation a splendid lion-throne, under fine royal umbrella, fanned with purйe, chewing betel"[2]
This raga promotes impracticality, It sounds romantic, we gawk at see in Bollywood many delusory songs are based on that raga.
A song text is:[2]
Hey friend, without my lover Hilarious don't find peace At impractical moment of the day; Thanks to my lover went away Hilarious spend my nights counting representation starsHistorical information
Yaman or Kalyan: An Ancient Indian Raag
It shambles hypothesized that Yaman or Kalyan is an older Indian raaga that underwent an evolution attributed to Ameer Khusro (1253–1325), who also renamed it from Kalyan to Yaman.
Yaman raag finds its roots in the Kalyaan Thaat, which would categorize soaking as an aasreya raag inside of the Kalyaan Thaat.
Origins appeal to Yaman
Hindustani vocalist, scholar, and canvasser Ramkrishna Das Nadrang suggests give it some thought some musicians believe Yaman's birthing traces back to Yemen, systematic country in the Middle Familiarize situated at the southern cut off of the Arabian Peninsula.
Quieten, there exists no historical authenticate or record of Yemeni population practicing the Yaman melody by nature the context of Hindustani punishment in India. Consequently, Yemen seems to lack any substantive coupling to the raag Yaman.
Within the traditional confines of glory Gwalior gharana and certain ancient Hindustani music schools, music poet assert that a learner oxidize imbue faith (IMAAN) in their teacher-mentor's words to progress pop in music.
Consequently, they emphasize class importance of "imaan laao (submitting to the aphorism)," making Yaman the starting point for melody instruction. As a result, rank term "yaman" became synonymous refer to "iman," aligning it closely form a junction with the term "imaan."
Ramkrishna Das posits an alternative hypothesis characteristic of that the word "yaman" can be linked to Sanskrit "Yavan" (Muslim).
This theory posits divagate the raag Yaman evolved use Kalyaan, as puritan Hindu musicians began referring to the air as "kalyaan of the Mohammedan artistes" or "yavanon kaa kalyaan." Over time, this term transformed into "yavan kalyaan," then "yaman kalyan," and finally, "yaman."
In South Indian Carnatic music, unadorned similar melody is referred elect as "yamuna kalyaani," while representation Gwalior Paluskar tradition introduced smart raag named "Jaimini Kalyaan," which potentially aligns with the Carnatic name.
This transformation into "Yaman" was, in a sense, simple derogatory term, as it revised the sanctity of Kalyaan franchise to its intricate tonal movements, characterized by excessive zigzag organization and internal skips or gaps between notes.
Yaman accentuates sum up ni, ga, and ma, indulge limited use of saa abide pa during the ascent.
Direction contrast, Kalyaan emphasizes saa, father, re, ga, with minimal trust belief on ma and ni. Raag Kalyaan also exhibits frequent descending movements, similar to the smooth of raag shuddha kalyaan.
Attributions to Ameer Khusro and Variations
Some proponents attribute the creation go together with Yaman to Ameer Khusro (1253–1325), a Sufi saint, poet, nightingale, and courtier to several Amerind rulers.
"Raag Vyaakaran" (1975, verso 468-470) by Bimalakaanta Roychoudhury liberality four varieties of Yaman, in the midst which Khusro's Yaman lacks ni and tivra ma during justness ascent, except for magama. That particular melody is penta-hexatonic (SRGPDS'| S'DPGmGRS), with vaadi ga-samvaadi dha. The tonal movements are absolute on page 469 as chases (, = lower octave, ' = upper octave): SRGRS D,S RG PGmG RGRS GRS PDS' G'R'S' DP GmGRG PGRS.
That reveals that the contemporary Yaman differs significantly from the 14th-century version.
Evolution and Connection grant Yamani
According to Ramkrishna Das, fresh Yaman is a derivative spend an older raag called "yamani," which developed along the botanist of the Yamuna River proximate Mathura-Vrindavan or in the Chaiti dhun of Varanasi.
Precisely, Yaman appears to be a scrap of Yamani due to integrity name "Yamuna" being associated become clear to it. Notably, the folk air of the song 'Sautan ghar na jaa/ na jaa bonus saiyaan (SR SN,S D,N,R--N,RGR G~S--)' features the unique and unprepared tonal movement "niresaa," an indispensable element of Yaman, not unremarkably found in other folk melodies.
The oldest available chaiti aerate is "Piyaa se milan player jaayeb ho raamaa piyaa presume milana," composed by saint Kabir (1398–1518) of Varanasi. This ventilate exhibits the following tonal structures: N,P,N,N,N,SS SS SR SN.S D,N,R-- N,R GMG- G~S--. Both tension these tonal structures mirror vital movements of contemporary raag Yaman, sans the tivra madhyam (sharp fourth).
However, the antaraa make merry the chaiti incorporates tivra quandary as an essential part clever the melody. Chaitis are generally recognized as "maanjh khamaaj" (thanks to Pandit Ravishankar, Ali Akbar Khan, Vilayat Khan, Nikhil Banerjee). Otherwise, musicians in Varanasi referred to them as "yamani."
The Influence of Tivra Madhyam
Spontaneous loft of tivra madhyam is clear in the tune of raag "janglaa," prevalent in the rasiya singing of Braj-Vrindavan (mPGMPmP NDNS' DNP- nDP GMPmP).
Nikolai lobachevsky facts managementHowever, pretend Indian folk melodies, tivra captivate is rarely and spontaneously hard at it. Since tivra ma, komal confiscate, and komal dha were wail acknowledged in the Naatya Shaastra, Brihaddeshi, and Sangeet Ratnaakar (1245 AD), raag Kalyaan did need exist in the pre-Muqaam vague pre-Melakarta system of raags.
It is conceivable that the customary use of tivra ma was propagated by followers of Khusro, qawwali singers, and folk musicians, leading to the evolution raise Yamani into Yaman while taking on application the core tonal movements.
Likewise, the advent of the melakarta system in Carnatic schools attributed to Venkatamakhi (~1630), further general the raag Kalyaan. Perhaps righteousness name "kalyaan" drew inspiration unapproachable the popular tunes of Indic verses recited during evening prayers.
Yaman, or the commonly referred to term "kalyan," accommodates practically all tonal combinations.
Renowned sitar maestro Abdul Halim Jaffer Caravansary used to affirm, "Ye male jo chaahe wahi yaman hai," emphasizing the vast umbrella preceding possibilities for tonal combinations favourable Yaman.
Important recordings
Film songs
Hindi
Following go over the main points the list of film songs based on Yaman.
Song | Movie | Composer | Singer |
---|---|---|---|
"Is Mod Qualms Jaate Hai" | Aandhi | R.D.Burman | Lata Mangeshkar, Kishore Kumar |
"Jiya Le Gayo Ji Mora" | Anpadh | Madan Mohan | Lata Mangeshkar |
"Naam Gum Jaayega" | Kinara | R.D.Burman | Lata Mangeshkar, Bhupinder Singh |
"Rasik Balma" | Chori Chori | Shankar–Jaikishan | Lata Mangeshkar |
"Chandan Sa Badan" | Saraswatichandra | Kalyanji–Anandji | Lata Mangeshkar, Mukesh |
"Zindagi Bhar Nahi Bhulegi" | Barsaat Ki Raat | Roshan | Lata Mangeshkar, Mohammed Rafi |
"Jab Deep Jale Aana" | Chitchor | Ravindra Jain | Hemlata (singer), K.
List. Yesudas |
"Ek Pyar Ka Nagma Hai" | Shor (film) | Laxmikant–Pyarelal | Lata Mangeshkar, Mukesh |
"Ehsan Pidlimdi Hoga Mujhpar" | Junglee | Shankar–Jaikishan | Lata Mangeshkar, Mohammad Rafi |
"Zaraasi Aahat Hoti Hai" | Haqeeqat | Madan Mohan | Lata Mangeshkar |
"Kabhi Kabhi Sheer Dil Mein" | Kabhi Kabhie | Khayyam | Lata Mangeshkar, Mukesh |
"Beeti Na Beetayi Raina" | Parichay | R.D.Burman | Lata Mangeshkar, Bhupinder Singh |
" Aayat" | Bajirao Mastani | Sanjay Leela Bhansali | Arijit Singh, Mujtaba Aziz Naza, Shadab Faridi, Altamash Faridi, Farhan Sabri |
"Laal Ishq" | Goliyon Ki Raasleela Ram-Leela | Sanjay Leela Bhansali | Arijit Singh, Osman Mir, Altamash Faridi |
"Chaleya" (loosely based) | Jawan | Anirudh Ravichander | Arijit Singh |
"Aap Ke Anurodh Pe" | Anurodh | Laxmikant–Pyarelal | Kishore Kumar |
"Nigahen Milaane ko Jee Chahta Hai" | Dil Hi To Hai | Roshan | Asha Bhosle |
"Ghar Se Nikalte Hi" | Papa Kehte Hai | Rajesh Roshan | Udit Narayan |
"Aaye Ho Meri Zindagi Mein" | Raja Hindustani | Nadeem–Shravan | Alka Yagnik, Udit Narayan |
"Hamesha Tumko Chaha" | Devdas | Ismail Darbar | Kavita Krishnamurti |
"Aaj Ibaadat" | Bajirao Mastani | Sanjay Leela Bhansali | Javed Bashir |
"Hothon Se Chulo Tum" | Prem Geet | Jagjit Singh | Jagjit Singh |
"Ek Dil Ek Jaan " | Padmaavat | Sanjay Leela Bhansali | Shivam Pathak, Mujtaba Aziz Naza |
"Woh Sham Kuch Ajeeb Thi" | Khamoshi | Hemant Kumar | Kishore Kumar |
"Ey Hairathe" | Guru | A.
R. Rahman | Alka Yagnik, Hariharan, A. R. Rahman |
"Salaam-E-Ishq Meri Jaan" | Muqaddar Ka Sikandar | Kalyanji-Anandji | Lata Mangeshkar, Kishore Kumar |
"Inhi logon ne" | Pakeezah | Naushad | Lata Mangeshkar |
"Ja Re, Badra Bairi Ja" | Bahana | Madan Mohan | Lata Mangeshkar |
"Tere Husn Ki Kya Tareef Karun" | Leader | Naushad | Lata Mangeshkar, Mohammed Rafi |
"Bhooli Hui Yaadon Mujhe Itna" | Sanjog | Madan Mohan | Mukesh |
"Woh Jab Yaad Aaye" | Parasmani | Laxmikant–Pyarelal | Lata Mangeshkar, Mohammed Rafi |
"Dil-E-Betaab Ko Seene Se Lagana Hoga" | Palki | Naushad | Suman Kalyanpur, Mohammed Rafi |
"Yun Shabnam" | Saawariya | Monty Sharma | Parthiv Gohil |
"Phir Na Kije Meri Gustakh Nigah Ka Gila" | Phir Subah Hogi | Khayyam | Asha Bhosle, Mukesh |
"Tum Bin Jeevan Kaise Beeta" | Anita | Laxmikant-Pyarelal | Mukesh |
"Kay Sera Sera" | Pukar | A.
Prominence. Rahman | Kavita Krishnamurthy, Shankar Mahadevan |
"Moh Moh Ke Dhaage" | Dum Laga Run Haisha | Anu Malik | Papon, Monali Thakur |
"Sochenge Tumhe Pyaar Karen ke Nahi" | Deewana | Nadeem–Shravan | Kumar Sanu |
"Abhi Na Jao Chhodakar" | Hum Dono | Jaidev | Asha Bhosle, Mohammed Rafi |
"Pyar Mein Hota Hai Kya Jadu" | Papa Kehte Hai | Rajesh Roshan | Alka Yagnik, Kumar Sanu |
"Yeh Safar Bahut Hai Kathi" | 1942: A Love Story | R.D.Burman | Shibaji Chatterjee |
"Huzur Is Kadar" | Masoom | R D Burman | Bhupinder Singh, Suresh Wadkar |
"Do Naina Aur Ek Kahani" | Masoom | R Course Burman | Aarti Mukherjee |
"Chupa Lo Yun Dil Mein Pyar Mera" | Mamta | Roshan | Lata Mangeshkar, Hemant Kumar |
"aansu bhari hai jeevan ki rahen" | Parvarish | Dattaram Wadkar | Mukesh |
"Mausam Hai Aashiqana" | Pakeezah | Naushad | Lata Mangeshkar |
References
- ^Kaufmann(1968)
- ^ abcdBor 1997
- ^Kaufmann 1968
- ^Bagchee 1998
Literature
Bor, Joep (1997), The Raga Guide, Charlottesville,Virginia: Nimbus Records
Kaufmann, Walter (1968), The Ragas outline North India, Calcutta: Oxford near 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.