- Yaman (raga)
- Raag – Yaman
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- Raag – Yaman
- RAG KALYAN (A.K.A. YAMAN)
Yaman (raga)I am responsible for part of the delay as it came when I had scheduled my post on the Best songs of 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. 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. 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 Yogicmeditative quality about it. 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 RoshanMan re tu kahe na dheer dharefrom 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. 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.
Raag – Yaman
Raga: Chandrakauns Tu hi tu main seva karu San sanna sanna sanna, jao re o pavan Majhi re himmat na har. Raga: Jaunpuri Dil chher koi aisa naghma — Inspector Ghunghat ke pat khol re tohe piya milenge — Jogan Jaayen to jaayen kahaan, samjhega kaun yahaan — Taxi Driver Meri yaad mein tum na aansu bahaana — Madhosh Muhabbat ki jhoothi kahani pe roye — Mughal-E-Azam. Raga: Jhinjhoti Mere mehboob tujhe meri muhabbat ki kasam — Mere Mehboob Jaun kahan bataaye dil — Chhoti Bahen Tum mujhe yun bhula na pao ge — Pagla Kahin Ka Teri ankhoke siva duniyamen — Chirag Mose chal kiye jaye hai re hai hai dekho saiyan beiman — Guide Ja ja re ja, balmava — Basant Bahar Koi hamdam na raha, koi sahara na raha — Jhumroo Ghungharoo ki tarah, bajata hi raha hoon main — Chor Machaaye Shor Chhup gaya koi re durase pukarake — Champakali. Raga: Manjh Khammaj Kaanha kanha aan padi re tere dwar — Aman Jane kaise sapano me kho gai ankhiyan — Anuradha Kaise dina bite kaise biti ratiyan piya jane na — Anuradha. Raga: Pahadi Sunri sakhi mohe sajna bulae — Nagin O durke musaphir hamko bhi sath le le — Udan Khatola Are ja re hato natakhat — Navrang Chal ud jaa re panchi — Bhabhi Koi pyaar ki dekhe jadugari — Kohinoor Sakhi ri mera man umade tana dole — Nagin Chaudavika chand ho — Chaudavi Ka Chand Ye vadiyan phijae bula rahi — Aaj aur Kal Tujhko pukare mera pyar — Neel Kamal Aja re tujhko mera pyar pukare — Waqt Do sitaaron ka zameen par hai milan aaj ki raat — Waqt Din hai bahar ke tere mere — Waqt Kaun aya hai nigahonmen chamak jag uthi — Waqt Hum jab simatake aapki bahonmen — Waqt Janevalo jara mudke dekho mujhe — Dosti Chaahoonga main tujhe saanjh savere — Dosti Gudiya hamse ruthi rahogi — Dosti Lag ja gale ke phir ye hansi raat — Woh kaun thi? Vahan kaun hai tera musaphir — Guide Dil pukare aa re aa re — Jewel Thief Rulake gaya sapna mera — Jewel Thief Chalo dildaar chalo — Pakeezah Aaja re, aaja re o mere dilbar aaja — Noorie Kabhi kabhi mere dilmein — Kabhi Kabhi Isharon isharon mein dil lenewale — Kashmir Ki Kali Aaj ki raat mere dil ki salaami le le — Ram Aur Shyam Neela aasman so gayaa — Silsila Javaan hai mohabbat, hasin hai zamaana — Anmol Ghadi Jo waada kiya wo nibhaana parega — Taj Mahal Kora kaagaz tha ye man mera — Aaradhana Meri aankhon mein bas gaya koi re — Barsat O door ke musaafir, ham ko bhi saath le le — Udan Khatola O mora naadaan baalama na jaane dil ki baat — Ujala Saawan ka mahina, pawan kare sor — Milan Shaam dhale khidki tale tum seeti bajaana chhor do — Albela Suhaani raat dhal chuki, na jaane tum kab aayoge — Dulari Tere mere honthon pe, meethe meethe geet mitava — Chaandani Paayo ji maine ram ratan dhan paayo Bhajan Aapko dekhke baadal ko pasinaa — Hum Aapke Dilmen Rahte Hai. Raga: Yaman Aansu bhari hain ye jeevan ki raahein — Parvarish Aap ke anurodh pe, main ye geet sunaata hoon — Anurodh Bhooli huyi yaadon, mujhe itna na sataao — Sanjog Chandan sa badan, chanchal chitavan — Saraswati Chandra Chupa lo dil mein yoon pyaar mera — Mamta Do naina matawaare tihaare, ham par zulm karen — Chhoti Bahan Inhi logon ne le leena dupatta mera — Pakeezah Jaane vaale se mulaaqaat na hone paayi — Amar Jab deep jale aana, jab shaam dhale aana — Chitchor Jiya le gayo re mora saanwariya — Anpadh Mausam hai aashikaana, ai dil kahin se unko — Pakeezah Nigahen milane ko jee chahata hai — Dil Hi To Hai O ram ji, bada dukh deena — Ram Lakhan Woh shaam kuchh ajeeb thi, ye shaam bhi ajeeb hai — Khamoshi Ranjish hi sahi, dil hi dukhane ke liye aa Ghazal. Raga: Yaman Kalyan Abhi na jayo chhor kar, ke dil abhi bhara nahi — Hum Dono Ahsaan tera hoga mujh par — Junglee Beeti na bitaayi raina — Parichay Is mor se jaate hain — Aandhi Lagta nahin hai dil mera — Laal Quila Preetam aan milo Saaranga teri yaad mein, nain huye bechain — Saaranga Tere husn ki kya taarif karoon — Leader Wo jab yaad aaye, bahut yaad aaye — Parasmani Zindagi bhar naheen bhoolegi wo barsaat ki raat — Barsaat Ki Raat Aaj jaane ki zid na karo Geet Shri ram chandra kripaalu bhaj man Bhajan. Loved this detailed compilation of popular songs, categorised by raag. I was delighted to find a few familiar ragas yaman, khamaj, desh with some fantastic songs! Thank you very much. Chhaliya is one of the films whose all songs are already posted on this blog but […]. Wonderful job. I applaud you for this. May God shower his blessings on you. Bahut bahut dhanyawad. Comments RSS. You are commenting using your WordPress. You are commenting using your Google account. You are commenting using your Twitter account. You are commenting using your Facebook account. Notify me of new comments via email. Notify me of new posts via email. Learn to Meditate!!!! Feeds: Posts Comments. Share this: Twitter Facebook. Like this: Like Loading Leave a Reply Cancel reply Enter your comment here
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Friday, April 10, Jai ho teri jinveer. Shri Manhari Saiyam Dhari. Prem mudit man se kaho by ajay kapil. Hari Naam ke Hire Moti Live by ajay kapil. Kudrat ki gati by Ajay kapil Live video. Krishna Bhajan — Kar lo hari ka. Man ke dware. Krishna Bhajan-Vinti suno banvari. Hari ka bhajan. Hari tera sumiran. Ram bhajan-Saray jug ke palan haar. Ram ratan laagi. Ram naam japte raho. Ram ke naam bharose. Ram ka sumiran. Shani Bhajan-Aho Bhagya hamare. Shanidev bhajan-Chalo chalo shanidham Chalo. Shanidev bhajan- Suryaputra Shri Shanidev. Hangama hai kyun 2 by Ajay kapil- video. Chupke chupke raat din by Ajay kapil- video. Banno teri ankhiyan-Live singer-Ajay kapil video. Tera Chehra Kitna Suhana by ajay kapil. Sun le diwani music- Ajay kapil video. Kahe chalelu tu music-Ajay kapil video. Batiya mani rajaji music Ajay kapil video. Jab se tohre gawanva music-Ajay kapil video. Pinholo lahenga music- Ajay kapil video.
Raag – Yaman
Yaman emerged from the parent musical scale of Kalyan. Considered to be one of the most fundamental ragas in Hindustani tradition, it is thus often one of the first ragas taught to students. Yaman's Jati is a Sampurna raga and in some cases Shadav; the ascending Aaroha scale and the descending style of the avroha includes all seven notes in the octave When it is Shadav, the Aroha goes like N,RGmDNS'where the fifth note is omitted; Pa but the Avaroha is the same complete octave. All the scale notes called swaras in the raga are Shuddha, the exception being Teevra Madhyam or prati madhyamam. The notes of the raga are considered analogous to the western Lydian modewhich was the predominant scale used in classical antiquitybefore being usurped by those of the pre-Modern era. Both have almost the same base, but they are sung differently. Vadi is ga, Samvadi is ni. Kalyan has no specific phrases or particular features, many musicians avoid Sa and Pa in ascend or treat them very weakly. There is some discussion whether Yaman and Kalyan really just are different names for the same raga, or that these are actually 2 ragas. Bagchee  agrees with Kaufmann. Thaat : Kalyan is type raga of Kalyan thaat. In thaat Kalyan, all notes are shuddha natural except teevra sharp Ma. Yaman is regarded one of the grandest and most fundamental ragas in Hindustani music. It is one of the first ragas taught to students but it also has great scope for improvisation. Ragas in the Kalyan thaat, including Yaman, should be performed during the first quarter of the night. Kalyan is described by Meshakarna as "lord in white garments and pearl necklace on a splendid lion-throne, under a royal umbrella, fanned with whisk, chewing betel" . A song text is: . Yaman is not an ancient raga. It is first mentioned in the literature in the late 16th century, by which time it was very popular: The Sahasras contains 45 dhrupad song-texts for Kalyan and five for Iman-Kalyan. Rao, B. Subba —66RaganidhiMadras: Music Academy. From Wikipedia, the free encyclopedia. Sample music in Sitar. A 1 min 43 second sample of Sitar sound, playing Yaman.