Kalyani (rāga)

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Kalyani is a melakarta rāga in the Carnatic music of South India, and is also an important raga in Hindustani (North Indian) music.

Contents

[edit] Kalyani in Carnatic music

In South Indian weddings this is a very prominently played rāga. The word kalyani means she who causes auspicious things.

It is the 65th melakarta rāga under the Katapayadi sankhya. It is also called Mechakalyani. The notes for Kalyani are S R2 G3 M2 P D2 N3.

[edit] Specifics on this raga

Kalyani is slightly difficult to elaborate on in raaga alapna due to its similarity with Sankarabharanam with the only difference of the Madyamam (Ma). One should not remain too long on panchamam (pa) or alternate between shadyam and panchamam too frequently. Also, one must stress the characteristic madhyama very frequently or risk confusion with other raagas. Rishabham and Daivatam are also very key to this raagam and also aren't stressed very much in Sankarabharanam. Kalyani is a very beautiful raaga, and is prominently known among the public.

Its ārohaṇa-avarohaṇa structure is as follows:

  • S R2 G3 M2 P D2 N3 S
  • S N3 D2 P M2 G3 R2 S

(Chathusruthi Rishabam, Anthara Gandharam, Prathi Madhyamam, Chathusruthi Dhaivatham, Kakali Nishatham)

It is also known as "Sampoorna Raga" in Carnatic music, that is to say, has all the main notes:

  • Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa

[edit] Kalyan in the hindustani music

Kalyan is the Indian (Sanskrit) name, and its Persian name is Yaman. It is also known as Yemen, Iman, Yamun and Kaliān.
He gives his name to the Kalyan-thaat.

[edit] Aroha & Avaroha

Arohana S R G M+ P D N S'

Avarohana S' N D P M+ G R S

[edit] Vadi and Samavadi

Vadi is Ga, Samvadi Ni.

[edit] Pakad or Chalan

Kalyan has no specific phrases or particular features, many musicians avoid Sa and Pa in ascend or treat them very weakly. You often hear N0 R G M+ D N S' in ascent and S' N G M+ G R S in descend[1]).
Sa is avoided in beginning the ascend such as N0 R G M+ P D N S'

[edit] Organization and relationships

There is some discussion whether Yaman and Kalyan really just are differnet names for the same raga, or that these are actually 2 ragas. Joep Bor says "Kalyan (today usually referred to als Yaman)"[2]. Kaufmann[3] says that Yaman and Kalyan are just different names, but insists that rāga Yaman-kalyan is different as there natural Ma is occasionally inserted between two Ga, like Ga Ma Fa Re Sa, while in all other instances tivra Ma (Ma+ is used (as in Kalyan). S. Bagchee [4] agrees with Kaufmann. Bor : If natural Ma is occasionally added in a concluding figure leading to Sa, the raga is known as Yaman-Kalyan[5]
Kalyan is mixed with several ragas:

  • Shuddha Kalyan
  • Puriya Kalyan
  • Yamani Bilawal

Thaat: Kalyan is type raga of kalyan thaat.

[edit] Behavior

Yaman is regarded one of the grandest and most fundamental rāgas in Hindustani music. It is one of the first rāga taught to students.

[edit] Samay (Time)

Kalyan should be performed during the first quarter of the night.

[edit] Seasonality

[edit] Rasa

Kalyan is described by Meshakarna(1570) as " lord in white garments and pearl necklace on a splendid lion-throne, onder a royal umbrella, fanned with whisk, chewing betel"[6]
A song text is:
Hey friend, without my lover
I don't find peace
At any moment of the day;
Since my lover went away
I spend my nights counting the starts
[7]

[edit] Historical Information

Yaman is not an ancient rāga. It is first mentioned in the literature in the late 16th century, by which time it was very popular: The Sahasras contains 45 druphad song-texts for Kalyan and five for Iman-Kalyan. According to Ventakamakhin(1620), Kalyan was a favourite melody to the Arabs, and Pundarika included Yaman among his 'Persian' Ragas [8].

[edit] Origins

[edit] Important recordings

[edit] Film songs

  • "Chhupa lo yun dil mein" in "Mamta" (1966)
  • "Zindagi bhar na bhulegi barsāt ki rāt" in "Barsāt ki Rāt" (1960)
  • "Jab dip jale ānā" in "Chitchor" (1976) Music by Javindra Jain.(to hear it)
  • Ānsu bhari te jīvan kī rahen" in "Parvarish" (1977) Music director Laxmikant Pyarelal

[edit] External links

Examples
Kalyan:

Yaman-Kalyan:

[edit] references

  1. ^ Kaufmann(1968)
  2. ^ Bor 1997
  3. ^ Kaufmann 1968
  4. ^ Bagchee 1998
  5. ^ Bor 1997
  6. ^ Bor 1997
  7. ^ Bor 1997
  8. ^ Bor 1997

[edit] Literature

list partly from Moutal (1991)
Bor, Joep (1997), The Raga Guide, Charlottesville,Virginia: Nimbus Records, <http://www.nimbus.ltd.uk> 
Kaufmann, Walter (1968), The Ragas of North India, Calcutta: Oxford and IBH Publishing Company .
Bagchee, Sandeep (1998), Nād, Understanding Rāga Music, Mumbai: Eshwar (Business Publications Inc.) .
Bhatt, Balvantray (1964-1974), Bhāvaranga, Varanasi: Motilal Barnasidas .
Gandharva, Kumar (1965), Anūparāgavilāsa, Bombay: Mauj Prakashan .
Patwardhan, Vinayak Rao (1961-74), Rāga Vijñāna, Poona: Sangeet Gaurav Granthamala .
Srivastava, Harichandra (1973-79), Rāga Paricaya, Allahabad: SangeetSadan Prakashan .
Telang, Gokulanand & Bhartendu, Banwari Lal (1962), Sangīta Rāga Aṣṭachāpa, Hathras: Sangeet Karyalaya .
Thakar, Vasant Vaman, Sangīta Rāga Darśana, Prayag: Gandharva Mahavidyalaya Mandal Prakashan .
Rao, B. Subba (1964-66), Raganidhi, Madras: Music Academy .
Moutal, Patrick (1991), Hindustāni Rāga-s Index, New Delhi: Munshiram Manoharlal Publishers Pvt Ltd, ISBN 81-215-0525-7 .