Yaman: The all encompassing
Editor’s Note: It’s a shame that Indian classical music often feels inaccessible to so many of us. Even if we enjoy listening to a performance or an artist as a layperson, we rarely understand the rich tapestry of tradition that gives them meaning. So we are delighted that Harini Calamur—who is a writer, veteran journalist and also a classical music aficionado—has put together this series on Hindustani music. Each instalment of this beginner's guide comes with its own delightful playlist:)
This month, Harini introduces us to the Raga Yaman, a Sampoorna raga that encompasses all the swars (notes) in its scale. Its remarkable emotional breadth allows it to convey a spectrum of feelings from joy and peace to serenity and devotion.
PS: If you missed them, previous instalments of this series include guides to Raga Bhairavi, Raga Puriya Dhanashree, Raga Lalit, Ragas of Spring, Raga Darbari, Ragas of Indian freedom, Raga Shree, Raga Hamsadhwani and Indian poet-saint’s in classical ragas.
Written by: Harini Calamur works at the intersection of digital content, technology, and audiences. She is a writer, columnist, visiting faculty and filmmaker. Her work has appeared in DNA, Free Press Journal, CNBC TV 18 and more.
Over to Harini…
For most embarking on the journey of Hindustani Classical music, Yaman often serves as the introductory raga. This choice is no coincidence. Yaman is a Sampoorna raga, meaning it encompasses all the swars (notes) in its scale. Each note is Shuddha, or pure, with the exception of the Madhyam (M) which is teevra (sharp). It's this unique mix that lends Yaman its remarkable emotional breadth, allowing it to convey a spectrum of feelings from joy and peace to serenity and devotion.
One of the finest ways to experience this spectrum is through the timeless bandish, "Ae Ri Aali Piya Bin." This piece acts like a window into Yaman's soul, showing us the depth of joy, peace, and devotion it can express. Attributed to Amir Khusro, the bandish has been performed by many greats. You can gently ease into the world of classical music, with this performance by Abida Parveen. Here is a gentleness to the raga, that will remind you of the fragrance of mogra (jasmine) wafting past you, carried by a cool breeze. And this lovely bhajan by Kaushiki, will give a glimpse of just that fragrance.
The origins of Raga Yaman
The predominant Raga in the Kalyan Thaat, Yaman is also interchangeably called Kalyan. The name Yaman itself could either be the river, or a variant on Yavvan—Persians—or indeed refer to the full moon. It is likely that all of the narratives are right, but it is also true that the raga is even older than these tales. What we do know is that the Raga was sung across the length and breadth of India—in temples, in courts, in music rooms—with devotion, enthusiasm, and love. This slow exposition of the raga by Venkatesh Kumar of the Kirana Gharana, shows you why the fundamental of all ragas remains a classical musician’s favorite.
Raga Yaman in pop culture
It is not just classical musicians that enjoy playing with the versatility of Raag Yaman, but it is also popular in film, in non film independent music, in fusion music and more. The song “Breathless” by Shankar Mahadevan is a beautiful adaptation of Raga Yaman. As is the beautiful ghazal sung by the doyenne of ghazal singers—Farida Khannum – Aaj Jaane ki Zid na Karo. Programmes like Coke Studio, have taken the raga to a larger audience. This rendition of Ao Balama, is based on Yaman.
The raga is used extensively in film music. There are songs denoting hope, and there are compositions denoting hopelessness. There were songs that are sublime, and then there were those that are somewhat ridiculous. And, then there are those that are pure surrender. Raga Yaman is versatile enough for all those emotions.
Raga Yaman: The instrumental version
Raga Yaman’s purity and simplicity lends itself seamlessly to classical instrumental music. This jugalbandi by Hari Prasad Chaurasia and Rakesh Chaurasia, on the flute, makes for a contemplative meditative experience. While the sweetness and the range of Yaman is accentuated by the violin in the hands of a master—this is N Rajam with a magnificent exposition of the Raga, with a recital that ‘speaks’ music. When played on the santoor, the Raga transforms to the sound of a bubbling brook—this rendition by Shiv Kumar Sharma and Zakir Hussain.
Vocals in Raga Yaman
But the true beauty and versatility of Raga Yaman, can be heard best in the longer renditions of the raga—the vilambit (slow) Bada Khayal, the drut (fast) bandish, and the tarana. This rendition by Bhimsen Joshi of the raga—part of his Siddhi collection—is electrifying in its versatility and pace. The slow tempo of the bada khayal gradually makes way for the explosive bandish, and the high voltage tarana.
Yaman can convey affection and fondness, and at times, humour. This drut (fast) bandish by Deepika Bhide Bhagwat, depicts the sheer joy that is intrinsic to the raga. A Yaman being slowly unravelled, is a deeply meditative experience. You can feel time and space slow down, as you soak in the raga. This alaap by Pelva Naik in Raga Yaman is one such experience.
And finally, to round off this edition on ragas—I will leave you with the superlative Raga Yaman—sung by Amir Khan, in Farsi. The meditative voice of Amir Khan, the slow tempo of the khayal, and the poetry of Amir Khusro—Shah Ze Karam—set to Raga Yaman.
We have created a handy playlist with all the tracks mentioned on splainer’s Youtube channel. ICYMI, you can check out Harini’s playlist on Raga Bhairavi here, Raga Puriya Dhanashree here, Raga Lalit here, Ragas of Spring here, Raga Darbari here, Ragas of Indian freedom here, Raga Shree here, Raga Hamsadhwani here and Indian poet-saint’s in classical ragas here.
PS: If you need a list of all the amazing music and videos shared by Harini:
- ‘Aa Re Aali Piya Bin’ by Abida Parveen
- ‘Aadi Dev Mahadev’ by Kaushiki
- ‘Raga Yaman’ by Venkatesh Kumar
- ‘Breathless’ by Shankar Mahadevan
- ‘Aaj Jaane Ki Zid Na Karo’ by Farida Khannum
- ‘Ao Balma’ by Ghulam Mustafa & AR Rahman
- ‘Aap ke Anurodh’ by Kishore Kumar
- ‘Aasu Bhari hai’ by Mukesh
- ‘Chupa lo yu dil mein pyaar mera’ by Hemant Kumar & Lata Mangeshkar
- ‘Que Sera Sera’ by Shankar Mahadevan & Kavita Krishnamurthy
- ‘Aaj Ibadat’ by Javed Khan
- ‘Raga Yaman’ by Hariprasad Chaurasia & Rakesh Chaurasia
- ‘Raga Yaman’ by N Rajam
- ‘Raga Yaman’ by Shiv Kumar Sharma & Zakir Hussain
- ‘Raga Yaman’ by Bhimsen Joshi
- ‘Raga Yaman’ by Drut Bandish
- ‘Raga Yaman Alaap’ by Pelva Naik
- ‘Raga Yaman Tarana’ by Veena Sahasrabuddhe
- ‘Raga Yaman’ by Ustad Amir Khan
