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Classical Music


Thaat Kalyan Prahar 5 (6pm - 9pm)
Aaroha 'N - R - G - M - D - N - S' Vaadi G
Avroha S' - N - D - P - M - G - R - S Samvaadi N
Pakad 'NRG - RG - P (G)R - GR - 'NRS Jaati Shadav - Sampoorna

Derived from Kalyani Thata it is the Ashraya raga of the thata. This raga has Gandhar and Nishad as Vadi and Samvadi notes. Kalyan raga, wherever it is mentioned in the old texts, does not include the note shuddha madhyama and hence Pt. Bhatkhande had suggested that the version of Kalyan that included shuddha madhyam may be identified as Yaman, and the name Kalyan be reserved for the version that consisted tivra madhyama. As pointed out, the note tivra madhyama plays such an important role in this thata that raga in this thata are classified into three sub-groups according to the role it plays. Authorities agree that the main catch–phrase of this raga would be: ‘NRG, RGMP MG, RGR S| Main genres usually associated with the raga are Dhrupad, Dhamar, Ashtapadi, Bada Khayal, Chota Khayal, Tarana, Khayalnuma, Tappa, Tap Khayal and it must be stressed Geet and Ghazal as well!

Raag Assets

सा, ‘नीरे सा, ‘नी’ध’नीरेसा, ‘नीरेग रे‘नीरेसा |
‘नी’ध’नी ‘धसा’नी ‘ध’नीरे ‘नी’ध सा – |
‘ध’नीरेसा’नी ‘ध’नी ‘ध ‘प -, ‘म॑’ध’नी ‘ध’नीरे ‘नी’ध सा – |
‘नीरेग रेग ‘नीरे ‘नीग गरेसा’नी रेग ‘नीरेसा |
‘ध’नी ‘ध’नीरे ‘नीरे ‘नीरेग रेग रेगम॑ ग, म॑रेग गरे ‘नीरेसा |
सा’नी’ध’नी गरे’नीरे म॑गरेम॑ ग म॑रेग गम॑प रे सा |
‘नीरेगम॑ प म॑गप पम॑रेग रेगम॑ध प म॑गरे ‘नीरेसा |
गम॑धनी म॑धनी, नीप, म॑धनीधप पम॑रेग ‘नीरेसा |
गरे’नीरेग पम॑रेगप नीधम॑धनी नीरे सा |
‘नीरेगम॑ धनीसा’ सा’ नीधसा’ -, नीधम॑ग म॑नीधनीसा’ नीप म॑रेग ‘नीरेसा |
पम॑गम॑ धनीसा’- धनीरे’सा’ – , सा’नीरे’सा’ नी नीरे सा |
म॑धनीसा’ सा’नीधनीरे’ नीधसा’ -, नीरे’ग’ ग’रे’ नीरे’सा’ – |
नीरे’ग’म॑’ रे’म॑’ग’ म॑’ग’ प’ ग’रे’ सा’ |
सा’नीधनी प – , म॑धनीधप पम॑रेग ‘नीरेगम॑प रे गरे, ‘नी’ध’नीरेग ‘नीरेसा |