Joep Bor says 'Kalyan (today usually referred to as Yaman)', Kaufmann 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 Ga Re Sa, while in all other instances tivra Ma (Ma + is used as in Kalyan). There is some discussion whether Yaman and Kalyan really just are different names for the same raga, or that these are actually 2 ragas. Sa is avoided in beginning the ascend such as N 0 R G M + P D N S' Organization and relationships You often hear N 0 R G M + D N S' in ascent and S' N D M + G R S in descend ). Kalyan has no specific phrases or particular features, many musicians avoid Sa and Pa in ascend or treat them very weakly. The Aroha and Avaroha of Yaman Kalyan goes like this:SRGMDNS'S'NDPMGRSĪvarohanaS' N D P M + G R S Vadi and Samavadi Both have almost the same base, but they are sung differently. Not to be mistaken, Raag Yaman is slightly different from Raag Yaman Kalyan. The notes of the raga are considered analogous to the western Lydian mode, which was the predominant scale used in classical antiquity, before being usurped by those of the pre-Modern era. All the scale notes (called swaras) in the raga are Shuddha, the exception being Teevra Madhyam or prati madhyamam. 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).
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 emerged from the parent musical scale of Kalyan.
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A 1 min 43 second sample of Sitar sound, playing Yaman
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