S-R-G-mM-P-D-N-S

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While the terms ‘Yaman’ and ‘Kalyan’ are often used interchangeably, the name ‘Yaman Kalyan’ refers to a distinct double-Ma variant of the parent raga, which sees shuddha ma inserted in descending phrases such as PMG, GmG. Vilayat Khan outlined his view of the raga’s characteristic twin-Ma interaction in the opening remarks to a sublime sitar–shehnai jugalbandi with Bismillah Khan: “When we use tivra Ma, it is like a prayer of shantha; and whenever we use shuddha ma, there is a little bit of shringara”. Almost all artists reserve the shuddha ma for relief-bringing conclusion phrases, usually pairing it with Ga, although precise treatments can vary – with the raga seeming to hold particular power to summon the very best from those who perform it. For a representative overview, refer to outstanding vocal recordings by Bhimsen Joshi (NDMPMGR GmG), Amir Khan (NDPMGR GmG), Rashid Khan (NRG RGmGRS), Ram Deshpande (MDP GmGRS), Kaushiki Chakraborty (mGR SNRNS), and Shashwati Mandal (PMGRG GmGRS) – as well as stellar instrumental takes by Ravi Shankar (MDP RGmGRNS), Ali Akbar Khan (RGmG, G(mG)RS), Shahid Parvez (NRGMP DM RRGmG), and Budhaditya Mukherjee (RGPMG RG(mR)S). Compare to other double-Ma Kalyan ragas such as Shyam Kalyan, Khem Kalyan, Lakshmi Kalyan, and Sanjh Saravali.

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• Raga Masterlist (1000+) •

राग यमन कल्याण

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• Hindustani Raga Index •

Aroha: DNRGMDNS

Avroh: SNDPMG, GmGRS

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Chalan: (variable according to interpretation of the parent raga)

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—Ram Deshpande (2012)—

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[refrain, e.g. 0:16] (P)G (P)GP, MDN N(DP), MDN M ND P, Gm(GR)G, G(R)RS, NR(GM)P…

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Bihag, Nand, Hameer, Kamod, Maru Bihag, Pat Bihag, Chayanat, Gaud Sarang, Shyam Kalyan, Khem Kalyan, Lakshmi Kalyan, Sanjh Saravali

Also compare to other members of the Kalyan raganga

–Swara Geometries–

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• Core form: S–R–G–mM–P–D–N–S

• Reverse: SrgmMPdnS

• Complement: SrgdnS

• Imperfect: 1 (Ma)

• Detached: none

• Symmetries: mirror (mM—NS)

• Murchanas: Bihag set

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• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• Carnatic: ~Yamuna Kalyani

S-R₂-G₃-M₁-M₂-P-D₂-N₃-S

• Jazz: Lydionian

1-2-3-4-#4-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-2-4-5-6-7-9-11-0

(2–2–1–1–1–2–2–1)

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o • o • o o o o • o • o o

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• Tanpura: Sa–Pa

• Names: Yaman Kalyan, Eman Kalyan, Jaimini Kalyan

• Transliterations: Hindi (यमन कल्याण)

—Shahid Parvez (2021)—