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Raga Yaman – The Luminous Jewel of Hindustani Classical Music

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Raga Yaman

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

 

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:

ni-Re-Ga, Re-Ga, ni-Re-Sa, Pa-Ma#-Ga-Re, ni-Re-Sa'

Some characteristic melodic progressions:

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.

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:

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

 

Carnatic Connection: Kalyani and Yamuna Kalyani

 

Mix Ragas with Yaman and Kalyan Ang

Ragas with ‘Kalyan’ in the Name:

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

Ragas that Mix with Yaman:

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:

Famous compositions based on Yaman include:

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.

Song Movie Composer Singer
Eh Safar Bahut Hai Kathi 1942: A Love Story (1994) R.D.Burman Shibaji Chatterjee
Is Mod Se Jaate Hai Aandhi R.D.Burman Lata Mangeshkar,Kishore Kumar
Tum Bin Jeevan Kaise Beeta Anita Laxmikant-Pyarelal Mukesh
Jiya Le Gayo Ji Mora Anpadh Madan Mohan Lata Mangeshkar
Aap Ke Anurodh Pe Anurodh Laxmikant–Pyarelal Kishore Kumar
Ja Re, Badra Bairi Ja Bahana Madan Mohan Lata Mangeshkar
Aayat Bajirao Mastani Sanjay Leela Bhansali Arijit Singh,Mujtaba Aziz Naza,Shadab Faridi,Altamash Faridi,Farhan Sabri
Aaj Ibaadat Bajirao Mastani Sanjay Leela Bhansali Javed Bashir
Zindagi Bhar Nahi Bhulegi Barsaat Ki Raat Roshan Lata Mangeshkar,Mohammed Rafi
Jab Deep Jale Aana Chitchor Ravindra Jain Hemlata (singer),K. J. Yesudas
Rasik Balma Chori Chori Shankar–Jaikishan Lata Mangeshkar
Sochenge Tumhe Pyaar Karke Nahi Deewana Nadeem–Shravan Kumar Sanu
Hamesha Tumko Chaha Devdas Ismail Darbar Kavita Krishnamurti
Nigahen Milaane ko Jee Chahta Hai Dil Hi To Hai Roshan Asha Bhosle
Moh Moh Ke Dhaage Dum Laga Ke Haisha Anu Malik Papon,Monali Thakur
Laal Ishq Goliyon Ki Raasleela Ram-Leela Sanjay Leela Bhansali Arijit Singh,Osman Mir,Altamash Faridi
Ey Hairathe Guru A. R. Rahman Alka Yagnik,Hariharan,A. R. Rahman
Zaraasi Aahat Hoti Hai Haqeeqat Madan Mohan Lata Mangeshkar
Abhi Na Jao Chodkar Hum Dono Jaidev Asha Bhosle,Mohammed Rafi
Ehsan Tera Hoga Mujhpar Junglee Shankar–Jaikishan Lata Mangeshkar,Mohammed Rafi
Kabhi Kabhi Mere Dil Mein Kabhi Kabhie KHayyam Lata Mangeshkar,Mukesh
Woh Sham Kuch Ajeeb Thi Khamoshi Hemant Kumar Kishore Kumar
Naam Gum Jaayega Kinara R.D.Burman Lata Mangeshkar, Bhupinder Singh
Tere Husn Ki Kya Tareef Karun Leader Naushad Lata Mangeshkar,Mohammed Rafi
Chupa Lo Yun Dil Mein Pyar Mera Mamta Roshan Lata Mangeshkar,Hemant Kumar
Huzur Is Kadar Masoom R D Burman Bhupinder Singh,Suresh Wadkar
Do Naina Aur Ek Kahani Masoom R D Burman Aarti Mukherjee
Salaam-E-Ishq Meri Jaan Muqaddar Ka Sikandar Kalyanji-Anandji Lata Mangeshkar,Kishore Kumar
Ek Dil Ek Jaan Padmaavat Sanjay Leela Bhansali Shivam Pathak,Mujtaba Aziz Naza
Inhi logon ne Pakeezah Naushad Lata Mangeshkar
Mausam Hai Aashiqana Pakeezah Naushad Lata Mangeshkar
Dil-E-Betaab Ko Seene Se Lagana Hoga Palki Naushad Suman Kalyanpur,Mohammed Rafi
Ghar Se Nikalte Hi Papa Kehte Hai Rajesh Roshan Udit Narayan
Pyar Mein Hota Hai Kya Jadu Papa Kehte Hai Rajesh Roshan Alka Yagnik,Kumar Sanu
Woh Jab Yaad Aaye Parasmani Laxmikant–Pyarelal Lata Mangeshkar,Mohammed Rafi
Beeti Na Beetayi Raina Parichay R.D.Burman Lata Mangeshkar, Bhupinder Singh
Aansu bhari hai jeevan ki rahen Parvarish Dattaram Wadkar Mukesh
Phir Na Kije Meri Gustakh Nigah Ka Gila Phir Subah Hogi KHayyam Asha Bhosle,Mukesh
Hothon Se Chulo Tum Prem Geet Jagjit Singh Jagjit Singh
Kay Sera Sera Pukar A. R. Rahman Kavita Krishnamurthy,Shankar Mahadevan
Aaye Ho Meri Zindagi Mein Raja Hindustani Nadeem–Shravan Alka Yagnik,Udit Narayan
Yun Shabnam Saawariya Monty Sharma Parthiv Gohil
Bhooli Hui Yaadon Mujhe Itna Sanjog Madan Mohan Mukesh
Chandan Sa Badan Saraswatichandra Kalyanji–Anandji Lata Mangeshkar,Mukesh
Ek Pyar Ka Nagma Hai Shor (film) Laxmikant–Pyarelal Lata Mangeshkar,Mukesh

 

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.

 

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