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Arohanam | SR₂G₃M₂PD₂N₃Ṡ |
---|---|
Avarohanam | ṠN₃D₂PM₂G₃R₂S |
Equivalent | Lydian mode |
Kalyani in Carnatic music. In South Indian weddings it is a very prominently played raga. The word Kalyani means she who causes auspicious things. It is the 65th melakarta raga under the Katapayadi sankhya. It is also called Mechakalyani. The notes for Kalyani are S R 2 G 3 M 2 P D 2 N 3. Kalyani is the first Prathi Madhyama raga that was ever.
Kalyani is a melakartaraga (parent musical scale) in the Carnatic music. It was called Kalyan but is now more popularly called Yaman in Hindustani Music. Its Western equivalent is the Lydian mode.
- 1Kalyani in Carnatic music
- 2Popular compositions
- 3Film Songs
Kalyani in Carnatic music[edit]
In South Indian weddings it is a very prominently played raga. The word Kalyani means she who causes auspicious things. It is the 65th melakarta raga under the Katapayadisankhya. It is also called Mechakalyani. The notes for Kalyani are S R2 G3 M2 P D2 N3. Kalyani is the first Prathi Madhyama raga that was ever discovered. It was obtained by the process of Graha Bhedam or modal shift of tonic of the ancient Shadja Grama.[1]
Specifics on this raga[edit]
Kalyani has scope for elaborate alapana. One should not remain too long on panchamam (pa) or alternate between shadjamam and panchamam too frequently. Kalyani is prominently known among the public. It is often performed at the beginning of concerts because it is considered auspicious.[1] This raga is very special because it is sung with all higher notes.
Structure and Lakshana[edit]
Kalyani scale with Shadjam at C
It is the 5th ragam in the 11th chakra Rudra. The mnemonic name is Rudra-Ma. The mnemonic phrase is sa ri gu mi pa dhi (or 'di') nu.[2] Its arohana-avarohana structure is as follows (see swaras in Carnatic music for details on below notation and terms):
- arohana: SR₂G₃M₂PD₂N₃Ṡ[a]
- avarohana: ṠN₃D₂PM₂G₃R₂S[b]
![Kalyani Ragam Swarapallavi Notes Kalyani Ragam Swarapallavi Notes](http://4.bp.blogspot.com/-MrEXb2M36y8/T2p7-2p2unI/AAAAAAAAADw/WR_wna6El9M/s400/esquema+comunicacion.jpg)
The notes used in this scale are shadjam, chatushruti rishabam, antara gandharam, prati madhyamam, chatushruti dhaivatam, kakali nishadam. It is a Sampurna raga in Carnatic music, that is to say, has all the seven notes: Sa, Ri, Ga, Ma, Pa, Dha, Ni. It is the prati madhyamam equivalent of Dheerasankarabharanam, which is the 29th melakarta. This raga is very significant to the chart, because it is sung with all higher notes.
Janya Ragams[edit]
Kalyani has many janya ragams (derived scales) associated with it, of which Hamir Kalyani, Mohanakalyani, Saranga, Sunadavinodini and Yamuna Kalyani are very popular. See List of Janya Ragams for full list of rāgams associated with Kalyani.
Popular compositions[edit]
Nearly every significant Carnatic composer (including the Trinity of Carnatic music) has composed several pieces in the Kalyani ragam. Kalyani is also considered one of the 'major' ragams of Carnatic music along with Sankarabharanam, Todi and Kharaharapriya (the set of 'major' rāgams is an informal grouping of the most popular ragams used for elaboration and exploration, and which often form the centerpiece of a Carnatic music concert in the form of a Ragam Tanam Pallavi (RTP) or a kriti). See next section for further information on relationships between these ragams.
Here is a short list of well known compositions in Kalyani.
- Vanajāksha, an Ata talavarnam and Needu Charana composed by Pallavi Gopala Iyer.
- Nidhi chāla sukhamā, Etavunnārā, Sundari nī Divya, Ammā Rāvammā and Vāsudēvanyani by Tyagaraja in Telugu
- Kamalāmbāṃ bhajarē ,Bhajarē Recita, Shiv aKameshwarim Chintayeham by Muthuswami Dikshitar in Sanskrit
- Himādri sutē pāhimaṃ and Talli Ninnu Nēranammi by Syama Sastri in Telugu
- Adrisutavara, Pankacha lōcana, Pahimaṃ Śri Vāgīśvari(Navarathri second day krithi), Paripahimamayi, Sarasa Suvadana, Sevesyanandureswara by Swathi Thirunal
- Nambi Kettavarillavo, kallu sakkare koLLiro by Purandara Dasa
- Unnai allal by Papanasam Sivan
- Sadanandame by Koteeswara Iyer
- Mahatripurasundari by Jayachamarajendra Wodeyar
The most popular film composition set in Kalyani is ' Mannavan Vandhanadi Thozhi' by K V Mahadevan rendered by P Susheela,[3]' and Sindhanai Sei Maname by G.Ramanadan.M.S.Viswanathan has composed numerous songs in Kalyani such as 'Isai Ketal Puvi' from the movie Thavapudhalavan,'Indha Mandrathil' from Policekaran Magal,'Maalai Sudum mananaal' from Nichaya Thamboolam,'Kannan Vandhan' from Ramu,'Azhagennum Oviyam Inge','Paar Magale Paar', 'Varuvan Vadivelan', 'Maduraiyil Parandha Meenkodi', 'Mugathil Mugam paarkalam'. 'Amma Endrazhaikkaatha Uyirillaye' by Ilayaraja, 'Manmadha Pournami' (P Susheela) in Panchavankadu by G Devarajan. The track Kalaivaniye in Sindhu Bhairavi that is set in the Kalyani rāgam and sung without an avarohaṇam. The Bharathiar composition Veenai Adi Nee Enakku from the movie Ezhavathu Manithan is also set in the Kalyani ragam. The Telugu movie Sankarabharanam has a Shloka'Māṇikya Upalālayanti' set in this ragam. 'Aa Nimishathinte' from the Malayalam movie Chandrakantham and 'Swarganandini' from Lankadahanam composed by M.S.Viswanathan also set in Kalayani.
Related ragams[edit]
This section covers the theoretical and scientific aspect of Kalyani.
Kalyani's notes when shifted using Graha bhedam, yields 5 other major Melakarta ragams, namely, Hanumatodi, Sankarabharanam, Natabhairavi, Kharaharapriya and Harikambhoji. For further details and an illustration of Graha bhedam of this ragam refer Related ragams section in Sankarabharanam page.
Film Songs[edit]
Language:Tamil[edit]
Song | Movie | Composer | Singer |
---|---|---|---|
Mannavan Vandhaanadi | Thiruvarutchelvar | K. V. Mahadevan | P. Susheela |
Indha Mandrathil Odi Varum | Policekaran Magal | Viswanathan-Ramamoorthy | P. B. Sreenivas,S. Janaki |
Isaikettal puvi | Thavapudhalavan | M. S. Viswanathan | T. M. Soundararajan |
Madhurayil Parantha | Poova Thalaiya | M. S. Viswanathan | T. M. Soundararajan |
Then Sindhuthey | Ponnukku Thanga Manasu | G. K. Venkatesh | S. P. Balasubrahmanyam,S. Janaki |
Vellai Pura Onru | Puthukavithai | Ilaiyaraaja | K. J. Yesudas,S. Janaki |
Nilaave Vaa | Mouna Ragam | Ilaiyaraaja | S. P. Balasubrahmanyam |
Janani Janani | Thaai Mookaambikai | Ilaiyaraaja | Ilaiyaraaja |
Oru Vanavil pole | Kaatrinile Varum Geetham | Ilaiyaraaja | P. Jayachandran,S. Janaki |
Yaar Veetil Roja | Idaya Kovil | Ilaiyaraaja | S. P. Balasubrahmanyam |
Devan Kovil Deepam ondru | Naan Paadum Paadal | Ilaiyaraaja | S. N. Surendar,S. Janaki |
Siru Koottile Ulla | Paandi Nattu Thangam | Ilaiyaraaja | K.S. Chitra,Mano |
Amma Endruzhakatha | Mannan | Ilaiyaraaja | K. J. Yesudas |
Yamunai Aatrile | Thalapathy | Ilaiyaraaja | Mitali Banerjee Bhawmik |
Kaatril Varum Geethame | Oru Naal Oru Kanavu | Ilaiyaraaja | Ilaiyaraaja,Hariharan,Shreya Ghoshal,Sadhana Sargam,Bhavatharini |
Kannale Kadhal Kavithai | Athma | Ilaiyaraaja | K. J. Yesudas,S. Janaki |
Varaga Nadhikaraiyoram | Sangamam | A. R. Rahman | Shankar Mahadevan |
Enthan Vaanil | Kadhal Virus | A. R. Rahman | S. P. Balasubrahmanyam |
Kadhal Niagara | En Swasa Kaatre | A. R. Rahman | Palakkad Sreeram,Harini,Annupamaa |
Neethan En Desiya Geetham | Paarthale Paravasam | A. R. Rahman | P. Balram,K.S. Chitra |
Sakthi kodu | Baba | A. R. Rahman | Karthik |
Methuvagathan | Kochadaiiyaan | A. R. Rahman | S. P. Balasubrahmanyam,Sadhana Sargam |
Ey Maanburu Mangaiye | Guru | A. R. Rahman | Srinivas,Sujatha Mohan,A. R. Rahman |
Mudhan Mudhalil | Aaha | Deva | Hariharan,K.S. Chitra |
Gokulathu kanna | Gokulathil Seethai | Deva | S. P. Balasubrahmanyam,K.S. Chitra,Deva |
Enthan Uyire Enthan Uyire | Unnaruge Naan Irundhal | Deva | Krishnaraj,K.S. Chitra |
Katrin Mozhi | Mozhi | Vidyasagar | Balram,Sujatha Mohan |
Naan Mozhi Arindhen | Kanden Kadhalai | Vidyasagar | Suresh Wadkar |
Yen Pennendru | Love Today | Shiva | Mohammed Aslam,Bombay Jayashri |
Kaadhal Aasai | Anjaan | Yuvan Shankar Raja | Yuvan Shankar Raja,Sooraj Santhosh |
Never let me go | Pyaar Prema Kaadhal | Yuvan Shankar Raja | Suranjan,Shweta Pandit |
Vizhigalin Aruginil | Azhagiya Theeye | Ramesh Vinayakam | Ramesh Vinayakam |
Kadhale Kadhale | Konjam Koffee Konjam Kaadhal | Phani Kalyan | Prasanna,Neha Nair |
Historical Information[edit]
Yaman/Aiman is not an ancient raga. It is first mentioned in the literature in the late 16th century, by which time it was very popular: The Sahasras contains 45 dhrupad song-texts for Kalyan and five for Iman-Kalyan. According to Venkatamakhin(1620), Kalyan was a favourite melody to the Arabs, and Pundarika included Yaman among his 'Persian' Ragas.[4]
Notes[edit]
- ^Alternate notations:
- Hindustani: SRGM̄PDNṠ
- Western: C D E F♯ G A B C
- ^Alternate notations:
- Hindustani: ṠNDPM̄GRS
- Western: C B A G F♯ E D C
References[edit]
- ^ abRao, B.Subba (1996). Raganidhi: A Comparative Study Of Hindustani And Karnatak Ragas. Volume Three (K to P). Madras: The Music Academy. p. 10.
- ^Ragas in Carnatic music by Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
- ^http://www.thamizhisai.com/tamil-cinema/tamil-cinema-001/tc0001_thiruvarut-selvar.php
- ^Bor 1997
Literature[edit]
![Kalyani jathiswaram lyrics in kannada Kalyani jathiswaram lyrics in kannada](/uploads/1/2/7/0/127069277/925088204.jpg)
Bor, Joep (1997), The Raga Guide, Charlottesville,Virginia: Nimbus Records
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.
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.
External links[edit]
Moutal, Patrick (1991), Hindustāni Rāga-s Index, New Delhi: Munshiram Manoharlal Publishers Pvt Ltd, ISBN81-215-0525-7.
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Kalyani_(raga)&oldid=940412391'
Kalyani raga, which is also called Yaman in Hindustani, is taught as the first raga in that stream. This is partly due to the simplicity of the notes and partly due to the familiarity of the raga.
It involves all the major swaras, along with both the madhyamas.Yaman’s serenity is much closer to our everyday life. It evokes the kind of harmony one feels when one is happy at home and with family, in the company of friends, watching a beautiful sunset, or doing something one enjoys. Every raga has one particular feel and Yaman has shanta rasa (peace). So, this particular raga can be used in bhajans and ghazals, apart from folk or film songs. A lot of superhit film songs are composed in this raga.There are many compositions in this raga, one of them being Nidhi chaala sukhama composed by Saint Thyagaraja, which is a popular kriti till date.“Almost all known artists have sung this raga in one performance or the other. My guru Mangalampalli Balamuralikrishna has penned down and composed a song describing its beauty,” recollects Mohana Krishna Devarkonda, well-known Carnatic vocalist.While classical music uses a lot of Yaman Kalyan raga, commercial music too sees it quite a bit. This raga has also inspired Telugu music directors.
One of the most popular songs, which all aspiring singers keep in their must-learn list, is Jorumeedunnavu Tummeda. It is said that director Dasari Narayan Rao just heard the pallavi, when music director Ramesh Naidu composed it, and was mesmerised by its beauty and finalised the song. Singer P Susheela did a great job with this song, as the rhythm comes in an opposite direction but not on dot.SP Balasubrahmanyam says that when he heard this song for the first time, he immediately went to meet Ramesh Naidu and expressed his happiness on creating such a beautiful song, by using just four instruments. An interesting point which many do not know is that the violinist who played in this song is popular music director Mani Sharma’s father YN Sharma.By just replacing the swara ‘ma’, this raga can also be called as Yaman Kalyan. And this has influenced many Bollywood music directors.
Popular director and composer Sanjay Leela Bhansali loves this raga so much that till date all his films consist of this raga.
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