Raga Yaman – The Luminous Jewel of Hindustani Classical Music

Raga Yaman (also known as Iman, Aiman, Eman, or Kalyaan) is a foundational and sublime heptatonic (Sampurna) raga from the Kalyan Thaat in Hindustani classical music. Its Carnatic counterpart is known as Kalyani or Yamuna Kalyani.

Yaman is often the first raga taught to beginners, yet it possesses an immense scope for depth, improvisation, and spiritual beauty. The use of the teevra Madhyam (Ma#) gives it a distinct, radiant quality that makes it both romantic and divine.

Basic Identity of Raga Yaman

• Thaat: Kalyan

• Jati: Sampurna (Seven notes in both Aroha and Avaroha)

• Vadi (Primary Note): Ga

• Samvadi (Second Important Note): Ni

• Time of Performance: First prahar (quarter) of the night (6 PM–9 PM)

• Rasa (Mood): Romantic, Peaceful, Devotional, Radiant

Scale Structure of Yaman

Aroha (Ascending):

N, R, G, M⁺, D, N, S’

Avaroha (Descending):

S’, N, D, P, M⁺, G, R, S

Note: The Ma used in Yaman is teevra Ma (M⁺). All other notes are shuddha (natural).

Pakad (Signature Phrases)

Yaman is characterized by meandering and zigzag tonal movements (vakra chalan) with key ornamentations. A common Pakad or Chalan (signature phrase) includes:

Some characteristic melodic progressions:

• N, R, G, M⁺, D, N, S’

• M⁺ D N S’, G M⁺ D N, R G M⁺ D

• R G M⁺ D, N, R G M⁺

• G M⁺ D, M⁺ G, R S

In the ascent, Sa and Pa are often weakened or avoided, lending a unique character to the raga.

Theoretical Considerations

Yaman vs Yaman Kalyan

While many modern musicians consider Yaman and Kalyan synonymous, classical purists maintain clear distinctions.

• Yaman strictly uses teevra Ma throughout.

• Yaman Kalyan may use occasional shuddha Ma as a vivadi (foreign) or grace note, especially in descending movements like G M G R S.

However, extensive use of shuddha Ma risks veering into other ragas such as Yamani, Jaimini Kalyan, or Yamani Bilawal.

Controversy and Nomenclature

The debate around the difference between Yaman, Kalyan, and Yaman Kalyan is long-standing:

• Joep Bor and Walter Kaufmann believe Yaman and Kalyan are the same.

• S. Bagchee agrees but admits that Yaman Kalyan includes shuddha Ma insertions.

However, traditional performers argue these distinctions are musically significant and Yaman and Kalyan should be treated as distinct ragas based on their raganga (core melodic essence).

Historical Origins

• Ancient Roots: Yaman is believed to have evolved from the older raga Kalyan, which finds mentions in 16th-century texts like Ragmala.

• Ameer Khusro Hypothesis: Some claim that Ameer Khusro renamed Kalyan as Yaman, possibly as a means to Islamize or Persianize Indian musical heritage.

• ‘Yaman’ as ‘Iman’: Another theory links the word “Yaman” to the word Iman (faith). Teachers traditionally emphasized faith in the Guru, and learning would begin with “Yaman,” leading to the phrase “Iman lao (bring faith),” possibly influencing the raga’s name.

• Misconception of Yemen Origin: Despite the phonetic similarity, there is no historical connection between the raga Yaman and the country Yemen.

Carnatic Connection: Kalyani and Yamuna Kalyani

• In Carnatic music, the equivalent of Yaman is Raga Kalyani, which also uses teevra Ma.

• A lighter raga, Yamuna Kalyani, resembles Yaman more closely and is used in devotional compositions and bhajans.

Mix Ragas with Yaman and Kalyan Ang

Ragas with ‘Kalyan’ in the Name:

Some examples of ragas that incorporate elements from Kalyan ang (movement):

• 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

Ragas that Mix with Yaman:

• Yaman Bhopali
• Kalavati Yaman
• Yamani Hindol
• Yamani Bilawal
• Yamani Basant
• Yaman Chhaya
• Yamani

These hybrid ragas combine Yaman’s core with other melodic structures for expressive variety.

Cultural and Musical Significance

Bollywood and Light Classical Music:

Raga Yaman has inspired countless film songs, bhajans, and ghazals. Its romantic, dreamy quality makes it a favorite for:

• Romantic ballads

• Devotional music

• Ghazals and thumris

Famous compositions based on Yaman include:

• Chandni Raat Hai, Yaman Mein Saaz Hai

• Chandan Sa Badan

• Jhanak Jhanak Tori Baje Payaliya

• Jab Deep Jale Aana

Pedagogical Importance:

Yaman is almost universally the first raga taught in classical music training, thanks to its structure, emotional range, and accessibility.

Behaviour of Yaman

Raag Yaman is considered one of the most majestic and foundational ragas in Hindustani classical music. It is often among the first ragas introduced to students due to its clarity and structure. Despite its simplicity for beginners, it offers immense depth and potential for advanced improvisation. The elaboration of Yaman typically emphasizes the lower (mandra) and middle (madhya) octaves, which is why a slightly higher pitch is often selected as the tonic (Sa) when performing this raga.

Samay (Time of Performance) of Yaman

Ragas from the Kalyan Thaat, including Yaman, are traditionally performed during the first quarter of the night, shortly after sunset. This time enhances the raga’s tranquil and serene character.

Rasa (Mood and Essence) of Yaman

The mood of Raag Yaman is one of grace, devotion, and romanticism. According to 16th-century musicologist Meshakarna (1570), Kalyan (Yaman) is described as “a lord in white garments and pearl necklace, seated on a splendid lion-throne, under a royal umbrella, fanned with a whisk, and chewing betel”.

This visual captures the regal and romantic nature of the raga. Yaman’s charm has been widely embraced in Indian cinema, especially Bollywood, where many iconic romantic songs have been composed in this raga.

Historical Background of Yaman

Raag Yaman, originally known as Kalyan, is a classical Indian raga with deep historical roots. It was renamed Yaman by the legendary musician Ameer Khusro (1253–1325). While it retains its place in the Kalyan Thaat, and is the principal (aasreya) raga of this parent scale, the renaming reflected a broader cultural exchange. This change is similar to how Bharatiya (Indian) numerals came to be known as Arabic numerals, symbolizing the historical interweaving of Indian and Persian traditions.

Origins of Raga Yaman:

Hindustani vocalist, scholar, and researcher Ramkrishna Das Nadrang explains that many musicians associate the name of Raga Yaman with Yemen, a country in the Middle East at the southern end of the Arabian Peninsula. However, there is no evidence or historical connection linking the melody of Yaman to the music traditions of Yemen. Therefore, it seems that Yemen has no relationship with the origin of Raga Yaman.

According to the traditional teachings of the Gwalior gharana and certain older schools of Hindustani music, music students are encouraged to place their faith (imaan) in the words of their teacher to progress. The phrase “imaan laao” (submit to the aphorism) was a customary practice in music education, and it is believed that this is how the name “Yaman” became associated with the raga, which is closely related to the term “imaan.”

Ramkrishna Das also proposes another theory: the word “Yaman” is likely derived from the Sanskrit term “Yavan” (meaning “Muslim”), which led to the creation of Raga Yaman from Raga Kalyaan. In this theory, Hindu musicians, preferring a purer approach, referred to the raga as “Yavanon ka Kalyaan” (the Kalyaan of the Muslim artists), which was later shortened to “Yavan Kalyaan” and further contracted to “Yaman.” Meanwhile, in South Indian Carnatic music, a similar melody is called “Yamuna Kalyani,” while the Gwalior-Paluskar tradition introduced Raga Jaimini Kalyaan, which aligns with the Carnatic naming convention.

There is also a theory suggesting that the term “Yaman” originally had a somewhat derogatory meaning, as it was believed to have been a corrupted form of “Kalyaan,” due to the intricate zigzag tonal movements, including downward and skipped note sequences. Unlike Kalyaan, which emphasizes the notes sa, pa, re, and ga with limited use of ma and ni, Yaman features greater emphasis on ni, ga, and ma, while the use of sa and pa is more restricted in the ascent. Kalyaan itself includes frequent downward tonal movements, similar to Raga Shuddha Kalyaan.

Some proponents argue that Raga Yaman was created by the Sufi saint-poet, singer, and courtier Ameer Khusro (1253-1325), who is credited with introducing several musical innovations. Bimalakaanta Roychoudhury’s work Raag Vyaakaran (1975) discusses four varieties of Yaman, including Khusro’s version, which lacks the note ni and features a non-tivra ma in the ascent, except for the “magama” phrase. This version was penta-hexatonic (SRGPDS’ | S’DPGmGRS), suggesting that the contemporary form of Yaman differs significantly from the version from the 14th century.

Ramkrishna Das also suggests that contemporary Yaman may have evolved from the older Raga Yamani, which was associated with the banks of the Yamuna River near Mathura-Vrindavan or the Chaiti dhun of Varanasi. The folk melody “Sautan ghar na jaa / na jaa more saiyaan” contains the signature phrase “niresaa,” an essential element of Yaman, which is not found in other folk melodies.

The oldest known Chaiti song, “Piyaa se milan ham jaayeb ho raamaa piyaa se milana” by Saint Kabir (1398-1518), reflects tonal structures similar to contemporary Raga Yaman, except for the tivra ma, which appears in the antara (second part) of the melody. Chaiti songs were traditionally known as “maanjh khamaaj” (due to the influence of Pandit Ravishankar, Ali Akbar Khan, Vilayat Khan, and Nikhil Banerjee), although musicians in Varanasi referred to the melody as Yamani.

The use of tivra madhyam (sharp ma) is also seen in Raga Janglaa, prevalent in Braj-Vrindavan during Rasiya singing, but it is not commonly used in Indian folk melodies. Since tivra ma, along with komal re and komal dha, is not recognized in classical texts such as Naatya Shaastra, Brihaddeshi, and Sangeet Ratnaakar (1245 AD), it seems there was no raga like Kalyaan in the pre-Muqaam or pre-Melakarta system.

The frequent use of tivra ma by Khusro’s followers, qawwali singers, and folk musicians likely contributed to the evolution of Yaman from Yamani, while the acceptance of the Melakarta system in both North and South India around the time of Jahangir (1605-1627) also played a role in shaping the raga’s development. The name Kalyaan may have been influenced by popular Sanskrit verses recited during evening prayers.

Sitar maestro Abdul Halim Jaffer Khan once stated, “Ye man jo chaahe wahi yaman hai” (“Whatever tonal combinations your mind desires to apply, they fall under the vast umbrella of Yaman”). This reflects the broad and flexible nature of Yaman, allowing for a wide range of tonal possibilities.

Film songs of Yaman:

Hindi film songs based on Yaman:

Following is the list of film songs based on Yaman.

Raga Yaman is not just a melodic framework — it is a gateway to Indian classical music, bridging the discipline of tradition with the freedom of imagination. Whether it is sung in pure khayal form, played on the sitar or violin, or interpreted in modern cinematic compositions, Yaman continues to resonate through time, embodying both devotion and delight.

See more:

• Music Index
• Indian Classical Music
• Taat Kalyan
• More details about raag Yaman
• Moutal, Patrick (1991), Hindustāni Rāga-s Index, New Delhi: Munshiram Manoharlal Publishers Pvt Ltd, ISBN 81-215-0525-7
• SRA on Ragas and Thaats
• SRA on Samay and Ragas
• Technical Aspects