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Guest article by Subodh Agrawal ( Subodh Agrawal’s second article in this series has been a long time in coming. I am responsible for part of the delay as it came when I had scheduled my post on the.

But when you read it you would agree it has been well worth the wait. Subodh bears his scholarship lightly, and writes in a style as lucid and fluent as the Raga Yaman itself. Here is his piece on one of the most popular ragas which would delight both connoisseurs as well as lay listeners. – AK) I have never understood why Yaman is the first raga to be taught to students.

Yes, it does have a simple structure – in the sense that it has no komal svaras, but its simplicity is deceptive. Creating beauty in Yaman requires a high level of skill and sensitivity.

It sounds bland and pedestrian in the hands of a novice or an artist of average capability. There is, however, no limit to the heights it can attain in the hands of a master. No wonder it is one of the favourite ragas of our film industry’s composers, some of whom – Roshan for example – have given their best in this raga. Yaman and Kalyan are two different names of the same raga. Yaman Kalyan, interestingly, is slightly different, as it uses shuddha madhyam occasionally along with the teevra madhyam of Yaman. The difference is not much, and in this article I would use Yaman to mean both Yaman and Yaman Kalyan.

The predominant mood of Yaman is tranquility – shant rasa. Another great raga Malkauns is also known for evoking shant rasa, but there is an important difference between the two.

The tranquility of Malkauns has a Yogic, meditative quality about it. Yaman’s serenity is much closer to everyday life. It evokes the kind of peace one feels when one is happy at home and with family, in the company of friends, watching a beautiful sunset, or doing something one enjoys. The shant rasa of Yaman combines well with bhakti rasa. It is an ideal raga for devotional compositions. Let me therefore begin with one of the best known works of Roshan, Man re tu kahe na dheer dhare, from the film Chitralekha.

A few years back Outlook magazine had polled some leading music personalities to come up with a list of twenty all time great songs from films, and this song topped that list. I wouldn’t quite go that far, but there is no doubt that this is one of the great songs of Hindi films. Mohammad Rafi sings Man re tu kahe na dheer dhare from Chitralekha (1964), lyrics Sahir Ludhiyanvi, music Roshan Because of its capacity of combining bhakti and shant rasa, Yaman is ideal for recitation of Sanskrit slokas. You can get a flavor of what this raga can do in this recitation of Bhagvad Gita by the incomparable Lata Mangeshkar Another devotional masterpiece from Lata in Yaman is the Meera bhajan Kinu sang khelun holi set to music by her brother Hridaynath Mangeshkar: Lata Mangeshkar sings Meera bhajan Kinu sang khelun holi I have commented above on the kind of everyday serenity Yaman evokes. There can be no better illustration of this than this song – one of my all time favourites – from Bhabhi ki Chudiyan by Lata Mangeshkar, set to music by Sudhir Phadke. Apart from shant and bhakti rasa, this song also has a mood of joy. I sometimes wonder if the list of nine rasas is incomplete without a tenth –a nanda rasa.

If we could add this rasa then I would analyse Yaman’s mood as 40% shant rasa; and 20% each of bhakti, shringar and ananda rasas! Lau lagati geet gati deep hun main by Lata Mangeshkar from Bhabhi Ki Chhdiyan (1961), lyrics Narendra Sharma, music Sudhir Phadke I would now like to present two versions of the same bhajan by two great artists: Kishori Amonkar and Shobha Gurtu. Kishori Amonkar’s version is sweeter and classically orthodox. Shobha Gurtu, on the other hand, creates a different kind of impact in her powerful voice with a shehnai like timbre. In the comments on Youtube, there is some needless controversy as to which of the two is better.

I think they are both beautiful in their own right. Kishori Amonkar sings Mharo pranam in Raga Yaman Shobha Gurtu sings Mharo pranam in Raga Yaman Let’s move on, and add another rasa to the mix of shant and bhakti rasas – shringar. This song from Mamta by Roshan raises love to the level of worship. Roshan has surpassed himself in composing this, while Hemant and Lata have rendered it with feeling. Ashok Kumar and Suchitra Sen’s restrained acting superbly completes the picture.

An NRI friend of mine commented that Ashok Kumar would win an Oscar hands down for the opening scene in which he covers his eyes with dark glasses and puffs on his cigarette. (I would gladly nominate this song for the title of the ‘all time greatest love duet from films’. My nominees for the male and female solos on love would be ‘ Jalte hain jiske liye’ and ‘ Tum apna ranj-o-gham’.) Chhupa lo yun dil mein pyar mera by Hemant Kumar and Lata Mangeshkar from Mamta (1966), lyrics Majrooh Sultanpuri, music Roshan At this stage I would like to introduce a regular classical piece.

Bismillah Khan has taken an extremely simple composition. You can’t get simpler than ‘ ni re ga re ni re sa ni dha ni re sa’ in Yaman. It takes the genius of Bismillah Khan to keep it from sinking into ordinariness. It is an excellent introductory piece for learners of classical music. Raga Yaman by Bismillah Khan I would not normally associate Yaman with karun rasa. However, trust Indian film music directors and Mukesh to evoke pathos even in this raga. I recall with amusement that for some unfathomable reason Mukesh’s song Ansoo bhari hain yeh jeevan ki raahen in Yaman was very popular with boys of my age when I was a University student.

I myself used to sing it with great feeling. An aunt of mine, who otherwise encouraged me to sing, told me in no uncertain terms to refrain from singing this song, as she had had enough of it! More than forty years later I don’t have any lingering fondness for this song. However, I still hold another Mukesh song – Saranga teri yaad mein – in the same raga in high esteem. I am not posting it here because AK has already done that in his excellent post on. Let me get out of this foray into karun rasa by presenting a classical piece by the great Pannalal Ghosh, which would restore the mood of joyful tranquility more suited to Yaman. When I listen to this piece it evokes the image of a beautiful sunset across a gently flowing river.

Sunsets can make you happy or sad. Yaman goes with happiness; another beautiful raga Marwa with sadness. Here is the Yaman piece: Raga Yaman by Pannalal Ghosh Back to shringar rasa. Two great songs come readily to my mind – Zindagi bhar nahi bhoolegi yeh barsaat ke raat and Abhi na jaao chhod kar. I am opting for the latter, as it has a nice teasing quality.

In a TV program Javed Akhtar called it his favourite romantic song. Abhi na jaao chhod kar by Rafi and Asha Bhosle from Hum Dono (1961), lyrics Sahir Ludhiyanvi, music Jaidev My next classical piece is by Sanjeev Abhyankar. The interesting thing about this piece is use of the flute as an accompaniment. It sounds like a duet between the singer and the flute: Sanjeev Abhayankar sings Raga Yaman Apart from devotional compositions, Yaman also excels in ghazals.

Several beautiful pieces spring to mind. The best, however, are non-film – Lata’s Har ek baat pe kahte ho tum; Mehdi Hasan’s Ranjish hi sahi, which launched a wave of Pakistan mania among Indian music lovers; and Aaj jaane ki zid na karo by Farida Khanum. I present here a comparatively less known, but equally charming piece by Farida Khanum: Wo mujh se hue ham kalam by Farida Khanum The next classical piece brings together two legends, one from north and the other from south. The Carnatic counterpart of Yaman is Kalyani. I only wish Pandit Bhimsen Joshi had yielded a little more time to the maestro from the south. Yaman Kalyan by Pandit Bhimsen Joshi and Balamurali Krishna E ri aali piya bin is one of the standard classical compositions of Yaman. Several versions are available on Youtube.

Lata Mangeshkar sang it for the film Raag Rang. A note of caution – while the main bandish is in Yaman, the preceding instrumental alaap forays into several other ragas, including Bahaar: E ri aali piya bin by Lata Mangeshkr from Raag Rang (1952), music Roshan Now listen to Dr N Rajam and her family present the same bandish on violin. Dr Rajam’s violin brings to mind the lofty voice of Pandit Omkarnath Thakur, who was her guru: N Rajam and family present Raga Yaman I close the presentation of film songs in Yaman with one that evokes a mood of pure joy. Ja re badra bairi ja by Lata Mangeshkar from Bahana (1960), lyrics Rajendra Krishna, music Madan Mohan This tarana from Ms Veena Sahasrabuddhe complements the joyful mood of this song in a pure classical vein. Her husband Dr Sahasrabuddhe was on the faculty of IIT Kanpur when Pankaj Sharan and I were both students there.

Her father Shankar S Bodas and brother Kashinath Bodas were respected figures in the world of classical music. Tarana in Raga Yaman by Veena Sahasrabudhe The next classical piece is by Rajan and Sajan Mishra, with an introduction by Shujaat Khan. In this piece the difference between Yaman and Yaman Kalyan is brought out quite clearly. Listen carefully at 3:25 in the recording. Raga Yaman by Rajan and Sajan Mishra My brother Vikas introduced me to this recording of Ravi Shankar and Anouskha. Ravi Shankar’s voice shows signs of age, but the pieces played on sitar by his daughter are quite good.

I had never taken much interest in her recitals earlier, but this one has made me take notice, thanks to the rich tonal quality of her sitar. Raga Yaman by Anoushka Shankar This recording by Ustad Vilayat Khan in Yaman is one of my favourites. It is a very personal interpretation of Yaman. I like its mood of quiet introspection and the imaginative use of silence: Part two of Vilayat Khan’s Yaman in madhya laya and part three in drut are available on Youtube.

They present a more orthodox interpretation of the raga compared to part one: Raga Yaman by Vilayat Khan in m adhya laya Raga Yaman by Vilayat Khan in d rut laya This is but a small sample of the vast possibilities of this great raga. As a leading exponent of classical music said during a private audience – one lifetime is too short to fully explore Yaman. In parting: As I said above, Yaman is ideally suited to reciting Sanskrit slokas. I can imagine what it would sound like in a rich, sonorous voice like that of Hemant Kumar. Unfortunately I have not been able to locate any such piece on the net. The closest I got is this song based on Jaidev’s Dashavatar Varnan from the film Anandmath. The raga is not Yaman, but the mood is quite close to Yaman.

I present it to give a hint of how good Sanskrit slokas based on Yaman would sound in Hemant Kumar’s voice. Hemant Kumar and Geeta Dutt sing Jai Jagdeesh Hare from Anandmath (1952) I close by thanking AK once again for motivating me to write, and all the music lovers who have uploaded videos on Youtube. In particular I would mention Youtube user Thuryina who has uploaded many of the classical pieces I have used above. Tell us something about yourself Thuryina, if you are reading this.

AK presents a great surprise: ( Someone who can bring alive Raga Yaman in his writing, what impact would he create if he sang it! Subodh sings (or recites) Harivansh Rai Bacchan’s ‘Is paar priye madhu hai tum ho’ without any musical accompaniment. He has also composed its tune. He is not a professional singer, but when someone loves Yaman so much he can transport the listener to the magical and mysterious world of ‘Us paar’ – AK) Here are the beautiful words of Harivansh Rai Bachchan: इस पार, प्रिये मधु है तुम हो, उस पार न जाने क्या होगा! प्याला है पर पी पाएँगे, है ज्ञात नहीं इतना हमको इस पार नियति ने भेजा है, असमर्थ बना कितना हमको कहने वाले, पर कहते है, हम कर्मों में स्वाधीन सदा करने वालों की परवशता है ज्ञात किसे जितनी हमको कह तो सकते हैं, कहकर ही कुछ दिल हलका कर लेते हैं उस पार अभागे मानव का अधिकार न जाने क्या होगा! इस पार, प्रिये मधु है तुम हो, उस पार न जाने क्या होगा! दृग देख जहाँ तक पाते हैं, तम का सागर लहराता है फिर भी उस पार खड़ा कोई हम सब को खींच बुलाता है मैं आज चला तुम आओगी, कल, परसों, सब संगी साथी दुनिया रोती धोती रहती, जिसको जाना है, जाता है मेरा तो होता मन डगडग, तट पर ही के हलकोरों से जब मैं एकाकी पहुँचूँगा, मँझधार न जाने क्या होगा!

इस पार, प्रिये मधु है तुम हो, उस पार न जाने क्या होगा! Shri Subodh Agrawal’s treatment of the subject is so thorough, lucid and interesting that I would pay tribute to it the only way it is possible – enjoying the post, wholly and severally, over several sessions. Of course, my technical knowledge of Classical raag is next-to-nothing. But, I certainly knew, by reading from somewhere, that Mana Re Tu Kahe Na Dhir Dhare is based on Yaman.

Since, then I know Raag Yaman as that song only. Also, I have a very special feeling for the renderings by Ustad Amirkhan Saheb, embedded impressions of the formative years into understanding whatever little of music. I remembered having seen couple of Usatdji’s clips on Yaman.

Here they are: Ustad Amir Khan – Raag Yaman –.flv THE COLOURS OF YAMAN -ustad amir khan So I thought of doing some additional search while I would find out these clips from search egnines. Pandit Ravi Shankar & Annapurna Devi. Raag Yaman Kalyan Sitar and Surbahar. This is the only recording where they both played together, but Pandit ji part is missing of sitar, I will try to find the rest of the recording. Martial Music Of India Army 2 – 1999 – saregama The search also has resulted in adding to my Yaman Favourite ‘Man Re.’ two more of my favotites – ‘Nathani Se. Thank you AK and Ashok Vaishnav. The list of film songs in Yaman is practically endless.

The only other raga which has so many film songs is Bhairavi. The other popular ones are Darbari, Pahadi and Pilu. It was very tough for me to decide what to include and what to leave out. I ultimately opted for one song representing each major mood of the raga. There is something interesting about the film Papa Kehte Hain. As it is a film from the nineties, it is way out of the range of songsofyore.

However, It is worth dwelling upon a while, as the music is by Rajesh Roshan, son of the great Roshan, who was without doubt the finest exponent of Yaman in film music. The film sank without trace, and the only reason I remember it is the music. The songs ‘Ghar se nikalte hi’, ‘Pyar mein hota hai kya jaadu, and ‘Yeh jo thode se hain paise’ are fine examples of Yaman. Their beauty lies in their simplicity. Legend says that Yaman was created by Amir Khusro by combining Indian raga Hindol with an Iranian raga.

I have searched the web for a perfect rendition in Yaman of his ‘Chhaap tilak sab chheeni’ but haven’t quite got what I was looking for. The best I found is this one by Habib Wali Mohammad:. This is a beautiful composition and HWM’s voice is magical, but it does stray a lot from the purity of Yaman. This version by Richa Sharma stays more faithful to the raga, but I found the loudness rather jarring: April 30, 2012 at 6:55 pm. @Subodh Agrawal Chhap tilak sab chheeni re mose naina milaye ke I first thought you meant Habib Painter. Habib Wali Mohammad’s was for me a disappointment, sorry about that, though I am a huge admirer of some of his songs – I consider his Lagta nahi hai jee mera the best in the world. I am sure Habib Painter’s is also on YouTube though I am not able to locate it.

But at least as good or better is Nusrat Fateh Ali Khan. I am so used to associating Amir Khusro with male qawwali singers that I have difficulty in appreciating a female singer. Nusrat Fateh Ali’s Chhap tilak (Part 1) Nusrat Fateh Ali’s Chhap tilak (Part 2) Nusrat Fateh Ali’s Chhap tilak (Part 3) May 1, 2012 at 1:13 am. @Raja Pundalik I fully endorse AK’s comments on your blog. The Marathi compositions are a real find for me. @AK I was absolutely delighted when I stumbled upon Nusrat Fateh Ali Khan’s ‘Chhaap tilak’ in my search.

Khan Saheb has, however, chosen to develop this bandish not in Yaman but mostly in Bihag. Otherwise it would have been the centerpiece of my article. My search for a perfect rendering of this immortal composition in Yaman, one that does justice to the beauty of its lyrics without too many vocal flourishes, continues. Mohan Kotwal May 17, 2012 at 9:58 pm.

Sapna ban sajan aye I had heard before. I would have bet it was a Sudhir Phadke composition. Jamal Sen goes up in my esteem. In Shokhiyan he gave a terrific Suraiya song Raton ki neend chheen li. I have used it in my post on Suraiya. Jamal Sen is of course a very befitting candidate for ‘Forgotten Composers’.

I think he gave music for only two or three films. Bulo C Rani has a long history from mid-40’s to mid-60’s. Jogan had famous bhajans by Geeta Dutt like Ghunghat ke pat khol re.

He also has the iconic qawwali Humein to loot liya mil ke husnwalon ne to his credit. Naresh P Mankad May 31, 2012 at 12:45 am. I personally feel that the Shokhiyan number – Sapna ban sajan aaye, composed by Jamal Sen, is a song without which a list of top ten songs in Yaman is incomplete. There is another song composed by Jamal Sen that should have the honour of securing a place not just in top ten songs in Yaman but also in top FIVE songs of Mohammad Rafi, if you permit a duet, and certainly in top five duets of film music: Film Daayara’s “Devta tum ho mera sahaara.” Those who have not heard the song have missed a gem. May 31, 2012 at 9:55 am.

Heylo 🙂 Had visited your site before also: AWESOME site! Stumbled on this page – as i was searching for ‘Chupa lo yun dil mein’. I am not much of a lyrics person – i can’t understand that much hindi – but the Ragas enchant me 🙂 And the scenes preceding the song bring in the perfect mood.

Suchitra Sen and Ashok Kumar take love and longing to a different level. The song is so beautiful. It has been haunting me ever since I heard it last night.

And just how beautifully you have written here 🙂 Lovely 🙂 When I was learning Carnatic music, Kalyani raga never appealed to me as much as its doing now. Which verifies your first paragraph 🙂 Request you to do a post on Raag Durbari Kanad – another super fav 🙂 Also, is there an equivalent of Ananda Bhairavi Raga in Hindustani? Regards, Deepika Naresh P. Mankad September 7, 2012 at 9:10 am. Yaman was never such electrifying as it is in this performance on sitar-maestro Vilayat Khan’s singing sitar.

This recording has an interesting history. The proof of his genius is that he came to the studio to play Marwa, and not Yaman. But he was already very late, he took too long to prepare and tune, the technicians were getting restless, the Ustad himself was not in mood and some hippy-like persons in the audience at the studio swaying their heads while the Ustad was tuning added to his irritation. He declared he was not going to play Marwa. The studio people were worried but the Ustad retuned his sitar and straightaway started his performance that stunned the people present there by the virtuosity, the speed, the clarity and the cross strokes! It was simply a master’s performance. Subodh Agrawal September 7, 2012 at 9:34 am.

Thank you Deepika. I am happy that this post has helped you appreciate Raga Kalyani more. This is the best compliment I have received. I will get around to Darbari Kanada eventually. Please keep visiting Songs of Yore and enjoy the articles by my friend AK on a host of interesting themes. I have not found any Hindustani equivalent of Ananda Bhairavi.

I listened to a recording by Balamurali, and it didn’t sound like any North Indian raga I am familiar with. I will get back if I learn something more. Subodh Agrawal September 7, 2012 at 1:34 pm. Yes, Subodhji, such extra details are rarely seen on the LP’s covers.

They should have made it a practice to give such material for the benefit of listeners. Of course, there are anecdotes that would interest the music buffs but no body would print them on the covers fearing controversies they may raise. This LP is one of my prized collection, because it is a lesson in excellence for those who are interested in learning sitar as also for those who love classical music. N Venkataraman September 10, 2012 at 10:21 pm. There is no Raag called Anandabhairavi in Hindustani Sangeet. The Raag Anand Bhairav of Hindustani Sangeet is quite a different Raag and is placed under the Bhairav That.

Strictly speaking it should come under the Carnatic Melakarta”Chakravaham”,whereas Raag Anandabhairavi is derived from the Melakarta Natabhairavi which corresponds to Asavari That. The Marathi stage song “Dehata Sharanagata” from the play “Manapaman” is supposed to be the imitation of a song in Anandabhairavi of the south. I could not find any recording of this Marathi version. As sung at present it has not got the Anandabhairavi Swaroop.It is now sung like a mixture of Hindustani Kafi & Piloo. Subodh Agrawal September 11, 2012 at 7:18 am.

This one is a slokam rendered in Kalyani Raag from the Telegu Film “Shankarabharanam” directed by K Vishwanath, produced in 1979. This film was later produced in Hindi, where Girish Karnad played the leading role.The name of the film, if my memory is right, was Swarsangam. Manikyaveena mupalaalayanti The next one is a instrumental rendering of Raag Kalyani. The short Aalap is played on the violin by the Doyen of Carnatic Music Sri T N Krishnan, who incidentally is the elder brother of Smt.N.Rajam The third one,also in Raag Kalyani, is by Dr Balamuralikrishana The last one is a popular devotional song rendered by T M Soundararajan. The song starts with Anandabhairavi and then moves on to Kalyani, Bhageswari and ends with Ranjani.

September 11, 2012 at 10:11 pm. This is superb! I have heard Ustad Rahim Fhimuddin Khan Dagar sing the Sanskrit shloka Manikyaveena mupalaalayanti in his Dhrupad performance. This is a famous shloka written by the poet Kalidas in praise of Goddess Saraswati. Hearing Dagar Sahab sing this is a divine experience. This shows the universal unity of all forms of music. The link you have given for Balmuralikrishna is not correct.

It is a repeat of TN Krishnan’s piece. Could you please give the correct link. N.venkataraman September 11, 2012 at 11:06 pm. Unfortunately I could not locate it on YouTube. But I have heard him so many times sing this that I am sure it would turn up some day.

He would start with Rigved’s first mantra अग्निमीढ़े पुरोहितम्‌ and go on to this shloka. The best I could locate is from a Telugu film Mahakavi Kalidasu in which this shloka is sung by Ghantshala. The YouTube comments indicate that Rajkumar has also sung it in the Kannada version of this film, which is supposed to be even better.

Could not locate it though. I am sure Mr Venkataraman would throw more light on this. Meanwhile enjoy this version by Ghantshala. Here let me add, I am familiar with Kalidas’s shloka. While Dagar sings the exact version, this one is quite different.

Let me locate the original shloka – the defining phrase in that is सा रे ग म प ध निरतांताम्‌, which is missing in this version. Manikyaveena mupalaalayanti from Mahakavi Kalidasu N Venkataraman September 12, 2012 at 10:18 pm. My acquaintance with Hindi is through Hindi films and songs. But I read the Kavita by Sri Harivansh Rai Bachchan and the English translation by Subodh ji.

I enjoyed both. Thanks AK ji & Subodhji. Subodhji’s spirited rendition was a bonus. This is second Kavita of Sri Bachchan I am coming across in my life. The first one is the famous “Madhushala”. I heard it for the first time in the early eighties, set to music by Jaidev ji and sung by Sri Manna Dey. Although my knowledge of Hindi is limited, I enjoyed the lyrics and the composition.

In fact I purchased the LP. I would be looking forward to Akji and Subodh ji to do a post on “Madhushala”, giving the lyrical translation and philosophical intrepretaion. N Venkataraman September 12, 2012 at 10:50 pm. Ghantashala’s version of “Shymala Dandakam” was superb. It was a delight to listen to the Aalapanas and Gamakams. After repeated listening, I think the following Carnatic Ragams were used in the composition. 1.Mohanam – The prelude, played in the Sitar, is set to Ragam Mohanam.

Hindusthani Raag Bhoopali has great resemblance to Mohanam. As Vaadi and Samavaadi restrictions are not strictly observed while singing Carnatic Ragams, Ragam Mohanam also sounds like Raag Deshkar of Hindusthani music. 2.Kedara Gowla – It belongs to the Harikambhoji Melakarta of Carnatic Sangeet, which corresponds to the Khamaj That of Hindusthani Sangeet. Ragam Kedara Gowla resembles Raag Desh closely.

3.Kalyani – or Mechakalyani resembles Raag Yaman of Hindusthani Sangeet. 4.Durbari Kanada – In Hindusthani Sangeet there are a number of Ragas called Durbari Kananda, Nayaki Kanada, Abhogi Kanada etc. But in Carnatic Sangeet there is only one Ragam called Kanada. Raag Durbari Kanada resembles the Carnatic Ragam Kanada very closely. 5.Shankarabharanam – belongs to the Dheera Shankarabharanam Melakarta of Carnatic Sangeet which corresponds to the Bilawal That. Raag Suddha Bilaval corresponds to Ragam Shankarbharanam.

6.Madhyamavati – a popular Ragam, is a janya of the Melakarta Kharaharapriya. The Hindusthani Raag Madhumad Sarang, which belongs to Kafi That, corresponds with this Ragam. Madhyamavati is considered to be very auspicious and music concerts generally conclude with a short Aalapana in this Ragam. Here too, Ghantasala concludes his rendering of “Shyamala Dandakam” with Madhyamavati. Poorvi Kalyani – The grand finale, played in the Sitar, is set to the Carnatic Raagam Poorvi Kalyani, which resembles Pooria Kalyan. Raag Pooria Kalyan belongs to the Marwa That, which again corresponds to the Melakarta Gamanashrama.

I could locate the Raaj Kumar version of “Shyamala Dandakam”. This one is also equally good. Here Raaj Kumar has employed a different set of Ragams. 1.Hamsadhvani – Basically this is a Carnatic Ragam which has become popular in the North. This Raag is placed under the Bilaval That which corresponds to the Melakarta Dhira Shankarabharanam.

Even in Carnatic Sangeet, this Raag is not a very old one and is not mentioned in the ancient books.It is said to have been composed by Late Ramaswamy Dikshitar, father of Late Mutthuswamy Dikshitar. Music concerts in South very often commence with a composition in Ragam Hamsadhvani. Here too, Raaj kumar starts his rendition with this Ragam. Kaapi – Carnatic Ragam Kaapi is a mixture of Hindusthani Ragas Kafi, Sindhura and Piloo.This mixture has found its way to the South and was initially sung under the name Hindusthani Kaapi. Kalyani – or Mechakalyani resembles Raag Yaman of Hindusthani Sangeet. Aarabhi – also belongs to the Melakarata Dheera Shankarabharanam or Bilawal That.

Ragam Arabhi is one of the Ragas introduced into Hindusthani Sangeet from the South through the stage of Maharashtra. This Raag is rarely heard being sung in Concerts in the North whereas it is very popular Ragam in the South. Bhairavi – of Carnatic Sangeet is a very popular raga, but has no resemblance to Hindustani Bhairavi. Ragam Bhairavi belongs to the Melakarta Natabhairavi which corresponds to the Asavari That. Mohanam – discussed earlier.

September 14, 2012 at 1:23 pm. Ak ji your reference to Rahim Fahimuddin dagar brought back nostalgic memories. I had the good fortune of listening to all the 7 Dagar brothers/cousins sometime during the early 80s. In fact they were 8 brothers belonging to the 19th generation of the Dagar heritage. The eldest of the brothers Ustad Nasir Moinuddin Dagar (Bade Guruji) had already passed away then.

Only two of the brothers are living. Ustad Rahim Fahimuddin Dagar was the son of Ustad Rahimuddin Dagar. I had the good fortune of listening to Ustad Rahimuddin Dagar (Bageshri Kanada). There is a seven part Aalap by Ustad Zia Mohiuddin Dagar played on the Rudra Veena in Raag Yaman and another hour long Aalap performed at France. This is an elixir for the purist.Those who are interested in going through the intricate nuances of this pristine and divine format can visit the you tube.

I am attaching a composition in Raag Yaman set to Chowtaal played by Ustad Zia Mohiuddin Dagar and accompanied by Sri Mani Munde. N.venkataraman September 15, 2012 at 1:37 pm. I would like to share three of my favourite Yaman Kalyan Compositions.

The first one is by the Sufi Singer Abeeda parveen Ji. Her Ghazal ” Woh humsafar tha, Magar us sey humnawai na thi” was too good. But here I would like to present the Khyal “eri aali piya bin” sung by her.

Energetic performance. The second one is the same khayal sung by the indomitable Pandit Bhimsen Joshi.

The third one is a Meera Bhajan sung by Smt. Vaani Jayram from the film “Meera’. The Film was not a hit, but the Music by Pandit ravi Shankar and the singing by Smt.Vani Jayram were superb. Subodh Agrawal September 15, 2012 at 9:35 pm.

Thank you Mr Venkatraman for these beautiful links. Jo tum todo piya was unknown to me and I am very grateful to you for introducing this gem to me. E ri aali piya bin is probably the most famous composition in Yaman Kalyan. I have included two versions in the original article. Abida Parveen and Bhimsen Joshi are stalwarts. But let me mention here one of the most talented 40+ musicians Sanjeev Abhyankar. His rich and sonorous voice lends an entirely different quality to this composition: N Venkataraman September 16, 2012 at 10:49 pm.

Subodh ji Ustad Vilyat Khan’s Raag Yaman speaks volume of virtuosity of this great virtuoso. Ashok Vaishnav ji Thanks for sharing Ustad Amir Khan’s clippings.

But the clipping of Smt.Annapurna Devi was a welcome surprise. It was too good.It is a pity that she chose to become a reculse due to personal reasons.

The Manna Dey piece “Nathli se toota mothi re” brought back memories of an EP(45 EPM) record containing four non film songs written by Madhukar Rajasthani and set to music and sung by Manna Dey. Out of the four I could find “Pal Bar ki pehchan aap se” and “Mere bi ik Mumtaz thi” although they were not from the original recording. But I could not find the other two songs “Bindiya Jane kahan Koyi” and “Birahi naina Jogi Bhaye”. Can you throw some light on these two songs. September 19, 2012 at 1:44 pm. @N Venkatraman The level at which your dialogue with Subodhji was going on, was only to be enjoyed by novice like me.

I did use to collect (a handful collection over a period) classical – Indian and Western – music records in the heydays, purely on the basis of discussions, with those who knew the music in our family, that would throw light on the relevance to Hindi Film Music and my own intuitive liking. I used to get a pat from my “guides” then, too, for my selection of records and am happy that, even now, my liking is also liked by those who know the music.

I am grateful for your very kind words and am happy that you could find something that you liked, as well, from among what I liked. I have that EP of Manna Dey too. And then I have two audio cassettes which contain a few immortal non-filmy gems of Manna Dey.

I would search out those songs on the net and share it, ASAP, with you and AKji. N.venkataraman September 19, 2012 at 10:59 pm. Ashok Vaishnav ji Thank you for your response. I am a late comer. I have stumbled across this wonderful site accidentally and got hooked to it. I, too, am not an expert and it is a great privilege to be in the august company like Subodh ji, AK ji and others.

You have uploaded and added substantial number and variety of Yaman compositions. I was listening to those compositions one by one. It took some time to listen and respond.

In fact, I liked most of the songs. I would like to hear the non-filmy gems of Manna Dey later on some appropriate occasion. I could not find the Lata Mangeshkar version of “Ehasan tere hoga Mujpar”. Can you find and share it. Thanks once again. September 20, 2012 at 10:20 pm. Thank you Deepika.

I heard three different versions of Kamala Sulochana on Youtube after your comment. It is a beautiful composition – simple, yet touching. I heard shades of North Indian Kafi and Khamaj in this composition – more of Kafi between ri and pa, and more of Khamaj between pa and ni. Thanks for introducing me to it. May I venture a suggestion to drop the formality of ‘ji’ on our comments. Our shared interest should allow us this much informality. What do you say, AK?

Subodh Agrawal September 24, 2012 at 7:36 am. I have been enjoying the Yaman discussion from the sidelines. I have been looking for Mogubai Kurdikar’s tarana in Yaman, which I had with me long back. YouTube shows that it was uploaded once which has been removed now, which makes me believe it would show up some day. While searching I came across several taranas in Yaman. One I particularly liked was Ustad Rashid Khan’s, who is my favourite among new singers (of course, relatively speaking compared to Pt Jasraj etc). N.venkataraman September 24, 2012 at 11:14 pm.

Thank you Mr Venkataraman for Kaushiki Desikan’s piece. It is something very interesting. The tarana is a conventional rendition and done quite well. I would have preferred, however, is she had stuck to Yaman proper, instead of Yaman Kalyan.

I found the shudh madhyam rather jarring. In the thillana she has done something I had heard about but never heard in a performance – shadj chaalan, which is changing the base not from the original sa to another one which makes the same notes of Yaman Kalyan sound like another raga. The key to do that effectively is to establish the new ‘sa’ very well, where she lacks a little. That’s why we get the impressing that she has gone off key. She announces what she is going to do, although in Bengali. N.venkataraman September 25, 2012 at 11:46 pm.

Ak ji The Yaman Tarana was beautifully rendered by Mogubai Kurdikar. The current generation of performers should take a leaf out of the stalwart’s book. They should learn how to keep a presentation simple and at the same time beautiful.

Subodh ji, Thank you for your valuable observations. The Shadj chaalan or the Kharaj parivartan in the Thillana Ang of the Carnatic music was referred to as Thayam thillana in the ancient texts. In modern times it is known as Graha Bedam. I heard it for the first time roughly 25-30 years ago. Dr.Balamurali Krishna sang the Kalyani (Graha Beda) Thillana then. He also explained the shift of the Shadjam. But the questions that used to bother me was- “How doe one recognize the right Raag during a Graha Bedam?

As long as the Taanpoora is set to the original SA, our brains refuse to recognize the shifted Raag(s). The original Raag stayed put in the brain cells.

That was my experience. Others may not feel the same! I tried to get the original Thillana sung by Dr.Balamurali Krishna, but could not find it. It was an excellent Thillana sung by the maestro. N.venkataraman October 3, 2012 at 9:01 pm. We have heard a variety of composition in Raag Yaman/Yaman Kalyan and Raagam Kalyani:- Hindi Film songs, Non filmi songs, Hindusthani Sangeet, Dhrupad, Khayal, Thumris, Taranas, Ghazals, Bhajans, Carnatic Sangeet, Thillanas, Tamil popular song, Sanskrit Shlokams, Instrumental music- Shehnai, Flute, Sitar, Violin, Rudra Veena, and even a composition in Military Band! I failed to find Yaman/ Yaman Kalyan played on the Sarod by Ustad Ali Akbar Khan in the you tube.

But here is an interesting piece from Ustad Amjad Ali Khan. There is also another interesting composition from the Bengali film Kshudita Pashan (Hungry stones), based on the story written by Gurudev Rabindranath Thakur. It is a Tarana composed by Ustad Ali Akbar Khan and rendered by Ustad Amir Khan. Why not include a Rabindra sangeet? Here is one from “Geetanjali”. Most probably this song was written and composed by Gurudev in the year 1906. The singer is Dwijen Mukherjee.

Hope you will enjoy. October 6, 2012 at 6:06 pm. Mr Venkataraman Each of these is great.

Especially delightful is Amjad Ali Khan’s ‘singing’. Finally every instrumentalist must in his heart be feeling that the ultimate is ‘vocal’. In concerts it was always delightful to hear Ustad Bismillah Khan and Ustad Vilayat Khan ‘sing’ when they wanted to demonstrate some nuance.

The latter’s son Shujat Khan seems to be seriously graduating into singing. While you can make out that his primary forte is the sitar, he has sung some amazingly pleasant light pieces, earlier made popular by Shobha Gurtu. Somehow I feel Yaman is the soul of Rabindrasangeet, with its softness and romance. I do not know how much Yaman is in this, but I could not help posting one my greatest favourites, Mono mor megher sangee by Hemant Kumar: Mono mor megher sangee by Hemant Kumar n.venkataraman October 6, 2012 at 9:40 pm. AK ji Thank you for your reply and comments. The Rabindra Sangeet ‘Mono Moro Meghero Shangee, Urhe Chale Dig Digantero Paane is a Malhar Ang composition, more tilted toward Mia ki Malhar.

The variety and diversity in his poetry compelled Gurudev to break away from the norms. In his songs devoted to rainy season, he used various types of Malhars, namely, Desh-Malhar, Nat-Malhar, Sur-Malhar, Mian-Malhar, Megh-Malhar, Gaud-Malhar, Surdasi Malhar etc. He also created different variations of Malhar alone. Each one of these is unique and distinct in its mood and expression. This song was written and composed in August 1938 at Shantiniketan when the poet was 77 years old. Hemanta Mukherjee’s rendition was very energetic and good. By now I am aware that you are an admirer of Hemant Kumar.

I could not find a good clipping of Rabindra Sangeet in Raag Yaman by Hemant Kumar in you-tube. By the way, Debabrata Biswas and Subinoy Roy are my favourite Rabindra Sangeet singers. Here is the English translation of the song (not my translation) Companion to the clouds, my heart, Soars beyond all horizons Towards the wide open void With bright, lyrical pulse of the Sraabon. out pour; My mind glides on swan-wings, Amid slight, startling spurts of lightning; How the storm flashes her ankle-bells, Resonating with fierce delight!

Mountain springs call out for a tempest Gurgling with deep resonance; Blowing in from the Eastern sea The wind gushes over Boisterous, bubbly waves of the river; My heart darts — stirred by a savage current Surging in tune with Clamorous branches of the forest groves. Sraabon. – the second month of the Rains, in Bengal. Subodh Agrawal October 7, 2012 at 11:52 am. Thank you Mr Venkataraman and AK for the Durga Stuti and the Coke Studio pieces. The Durga Stuti pieces do a wonderful job of establishing the serene mood typical of Yaman.

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The Coke Studio piece takes a lot of liberties with the raga, yet it is interesting. It feels like homecoming when it does come back to yaman after each foray outside it.

Coke Studio India had been way behind its Pakistani counterpart till last year, but now it seems to be catching up. Ambrish Pandey January 17, 2013 at 5:09 pm. Dear friends, I have earlier mentioned about Ustad Rahim Fahimuddin Dagar’s rendering of Saraswati-stuti written by Kalidas – Manikyaveena mupalalayantim. I could not locate his recording on YT. But here is the complete verse: ओङ्कार पञ्जर. Venkataramanji pointed out to me through e-mail a mix-up I have committed.

The above verse Omkar panjarshukim is written by Adi Shankarachrya and is known as Shyamala Navratna Stotram. I had also inadvertently missed to include the last two stanzas, which has now been inserted above. Manikyveenam upalalayantim is the one which was under discussion here and is composed by Kavi Kalidas. It is known as Shyamala Dandakam Stotram. An unique aspect of this poem is that unlike the classical Sanskrit poetry, which was in meter, this one is in free verse. It is a long poem and can be seen here: Thank you Venkataramanji.

Gajanan February 26, 2014 at 1:59 pm. What an absolutely profound descriptionthe samaveda was the first to create the meter and the swarasthe sa re ga ma pa dha ni were created in samavedaessentially to break the silence into perfect amplitudesthat was done to soothe, calm and detoxify the human body since it was the svaras that originated from the larynx that was held responsible for the health of the human beingand thus the mantras and the uchcharanindeed we are all energies and frequencies and the most natural ones that consume us are the (7) sargams. In the din of the recent fm stations that just talk of ‘bajaate raho’, we seem to have lost that fine granular discerning abilitiesthe pineal gland activation is perfectly possible in the children today while an impossibility for the adults and one of the reasons is the fluoride in the toothpaste jeevan chalte ka naam.and many more such best wishes, Yogi absolutely joyous!! February 13, 2015 at 9:12 am. I apologize in case this song has already been cited in one of the comments above – I haven’t had the time to go through all of them.

The song I am referring to is an all-time favourite of mine in Yaman Kalyan – the incredibly sweet ‘Aa mohabbat ki basti basaayenge hum’ from Fareb, tuned by Anil Biswas and sung by Lata and Kishore:. I haven’t come across another song that so brilliantly creates two contrasting moods, in keeping with the sentiments expressed by the lyrics – dreamily romantic in the portion sung by Kishoreda and poignantly realistic in the portion sung by Lataji – and using the same raga to boot! Sheer genius!! I remember listening to an interview of Anilda and Meena Kapoor on ‘Sangeet Sarita’ in which he revealed that he had been advised by many that Kishoreda would not be able to do justice to this song, but that he had been adamant about his choice, and that the ‘advisors’ had been forced to eat crow after they listened to the recording 🙂 Other interesting points about this composition: 1. It is one of the few (comparatively) film songs set to jhaptaal (Zamaane ka dastur is another gem from the Anilda oeuvre in jhaptaal) 2.

The composition begins with Hindol till 0.08 before Yaman sets in. Later, in the segment between 1.22 and 1.27, there is an interlude in Bhinna Shadaj/Kaushikdhwani, and finally the songs ends with a flute section in Sohini from 3.04 to 3.08. Subodh Agrawal March 22, 2015 at 8:29 am. Subodh-ji, This is a very erudite post on Yaman. I would agree with you on attempts to teach this as the first raga. Tivra Ma is a very sharp secluded space. Suman Ghosh said in our class that if Yaman sounds flat and unimpressive, it is because tivra Ma is not correctly placed.

My best reference for Yaman is last verse of Kuhu Kuhu bole Koyaliyan. The opening aalap by Rafi exemplifies the serene yet elegant beauty of this deceptively simple raga. The ending sargam helps to keep it pure. Ni re ga ma dha ni sa, Sa ni sa ga re ga sa re ni sa dh ni ma dha ni sa, Ni re ni re dha ni dha ni ma dha ma dha ga ma ga ma, ga ma dha ni sa, dha ni sa. Now I want to comment on the four note composition of Anushtup Chhanda in Bhagvad Gita.

Mostly it is ni re ga re ni re sa. Having played Vishnu Sahsranama many times, the import of this structure became apparent. The main Sa is hidden and prominently absent in the aroha of Yaman. The Lord is just as illusive when we search for him. The sargam above avoids it completely!

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One could argue that four notes without tivra ma cannot make Yaman. However, there is no other raga I know where the main Sa is so “Gupta”! When finding the key of Yaman, many will think it is ni, which is not correct.

Rasheed Khan gives the best pakad in the beginning of his superb Yaman. His “ridanuuu uu re naaa” clarifies the structure so well that I use it before attempting any song in Yaman. His drut khayal words are also most appropriate: Din beeta bhayee saanz, hovan lagi rain, nahin chain! Now the best at last: Bhimsenji’s Yaman from Siddhi LP set.

Drut teen taal followed by an encore tarana in ek taal! Even the words are profound and appropriate! Jogi, jangal Jati, Sati, aur Guni Muni, Sab Nara-Nari ke moha liyo hai man rang kar ke; Shyam bajayee Aaj muraliya, le apano adharana, Sun tu! Tarana surprises us when we feel that there can be no more in Yaman! Subodh Agrawal April 14, 2015 at 8:00 pm. Here’s another similar discovery that I had made a couple of years ago and posted to a Google group that I am a member of: Check out the interlude between 0.48s and 0.53s in ‘Tere nainon ne chori kiya’ from ‘Pyaar ki Jeet’: and compare it with the bars between 0.06s and 0.11s from ‘Jiyaa beqaraar hai’ from ‘Barsaat’: Is the resemblance a coincidence or considering that PKJ was released in 1948,a year earlier than ‘Barsaat’, was it that ‘SJ’ drew inspiration from the older song?

Ashwin Bhandarkar May 5, 2015 at 11:08 pm. Ashwin ji; The sequence of melody making is very well explained by SSW ji # 117. Actually there are quite a number of instances where one can easily note a small part of interlude appearing elsewhere also. Like ‘ Har dil jo pyar karega ‘ @ 0.09 to 0.14 song from Sangam is quite similar to SJ’s older film Hamrahi song ‘ Woh chale jhatak ke daaman ‘ @ 0.05 to 0.09.

There is one more song of Paying Guest ‘ Maana janaab ne pukara nahin’ where interlude @ 2.59 to 3.08 appears to be quite similar to Teen devian song ‘ Aare yaar mere tum bhi ho gazab ‘ @ 2.19 to 2.25. Likewise there are many songs which are similar songs altogether. SOY had a good excercise on this topic which can be traced in ” Open House” and other related blogs. Ashwin Bhandarkar May 12, 2015 at 12:33 am. Thanks Uma Maheshwar and Sivaram J. Sorry for the delay in my response.

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There was a problem with email alerts on new comments which has now been resolved. Let me make up for this delay with this amazing rendering of ‘Sri Ramachandra kriplau bhajanam’ by the enormously talented Sooryagayathri. I recall my words at the beginning of this article: “Creating beauty in Yaman requires a high level of skill and sensitivity. It sounds bland and pedestrian in the hands of a novice or an artist of average capability. There is, however, no limit to the heights it can attain in the hands of a master.” Despite her young age Sooryagayathri is not a novice and well on way to being a master. One shudders to think what she will do a few years from now if this is the level she has already attained: Uma Maheswar October 6, 2016 at 7:51 pm.

Good Evening to all, It is indeed she is a Gift of Almighty to the Classic Music World. Her display of bhavam through her vocal chords and facial expressions is amazing.

Her accent and pronunciation of every letter of every word of every sentence is extraordinary. One can see the octaves dancing with Divine delicacy and rhythm in her rendition. No doubt she is the blessed child of God to take us to a Divine world of Music with a cool breeze and a celestial nectar. What else can be written, any amount one can write about her proficiency will still be less.

God bless her and my blessings to her for more and more prosperity. Uma. Now it is me to submit my apologies for my delay in in responding to you. I saw and heard many classic singers Vocal and Instrumental, through TV, Youtube, attending concerts and other sources. To my experience I found many singers silencing some words or even blanking them off, leaving to the audience guess, in their renditions. May be they want to prove their proficiency in that way.

But this Angel child of Classic Music is a Divine design. Any amount I write about her talent, it would be still less than the actual. But still these are my comments as posted on youtube, please read.My comments in youtube. Good Evening to all, It is indeed she is a Gift of Almighty to the Classic Music World. Her display of bhavam through her vocal chords and facial expressions is amazing. Her accent and pronunciation of every letter of every word of every sentence is extraordinary and crystal clear, it is a Divine gift to her.

One can see the octaves dancing with Divine delicacy and rhythm in her rendition. No doubt she is the blessed child of God to take us to a Divine world of Music with a cool breeze and a celestial nectar.

What else can be written, any amount one can write about her proficiency will still be less. God bless her and my blessings to her for more and more prosperity. Uma. Last but not least You have shared a treasure, such a treasure, which can neither be counted, weighed nor even be estimated.

Blessings Almighty shower on you and your family for a happy prosperous and peaceful long life. My blessings and regards to you and your family. Uma Subodh Agrawal October 7, 2016 at 5:32 am. Good Morning dear Subodh ji Thank you very much for your pleasant response. Yes, we do pray and wish her a bright future hoping to get entertained and enlightened with her music. I am still just an average student with English literature, added to that very lazy, but do try my best for submitting a Guest post covering some true events of interest occurred in the life of some great musicians. ( informed and learned through various sources).

God bless you and your family and also with my blessings. Sincerely Uma Maheswar July 25, 2017 at 6:19 am.