Raag Yamanयमन
Sourced · not yet reviewed by a musician
Kalyan thaat · Sampurna-Sampurna · Early night
- Sunset
- Early night
- Night
Swaras and phrases
Outlined: vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Ga · samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Ni
Tap a lit note to hear it · Synthesized for study — not a recording
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- .Ni Re Ga Ma♯ Pa Dha Ni Sa'
Source: IGNOU OMU-001 +2
- IGNOU OMU-001, §1.3 a) Yaman, Aroh; printed p.6
- KalaSudha, Quick Facts / Technical Details, Aroha (Ascent)
- Prabhāta Saṃgiita (article by Kirit), Raga Yaman, labelled aroha
- Sources split 3–3Other version, 3 sources:.Ni Re Ga Ma♯ Dha Ni Sa'
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' Ni Dha Pa Ma♯ Ga Re Sa
Source: NIOS +8
- NIOS, printed p.1, Raga Parichay, Avaroha
- Artium Academy, Raag Yaman page, avaroha
- Krsna Kirtana Songs, Raga facts, Avaroha
- Rāga Junglism / George Howlett, Melodic summary, Avroh
- KalaSudha, Quick Facts / Technical Details, Avroh (Descent)
- Raag Hindustani / Sādhana, Linked scale image under corresponding raag heading; left ascent / right descent
- Swaranjali Music School, PDF page 20, labelled avaroha; raw custom-font extraction decoded against page image
- Swaranjali Music School, PDF page 6, Kalyaan synopsis, Avaroha; no superscript grace note printed
- Prabhāta Saṃgiita (article by Kirit), Raga Yaman, labelled avaroha
- 8 of 8 sources agree
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- Ma♯ Dha Ni Re \ Dha Sa; Ni Re Ga Ma♯ Pa \ Re Ga; Re Ga Ma♯ \ Re Ma♯ Ga; Ga Ma♯ Dha Ni Dha Pa
Source: AUTRIM
- AUTRIM, Yaman page, characteristic phrases
- 7 versions in 6 sources
About Yaman
Yaman belongs to the Kalyan family and suits beginners and experienced performers alike. Its ascent usually starts on lower Ni, Ga and Ni are held, and Pa is a resting point.
Also called Kalyan.
Source: AUTRIM
- AUTRIM, Yaman page, opening description
How it moves
AUTRIM says the ascent usually begins on lower Ni, and Sa and Pa can end rising phrases such as Ma(tivra) Dha Ni Sa and Re Ga Ma(tivra) Pa.
Source: AUTRIM
- AUTRIM, Yaman page, opening description
NIOS tells the learner to start the ascent on Ni and to leave out Pa.
Source: NIOS
- NIOS, printed p.1, Raga Parichay, note below the pakad
AUTRIM says the direct descent leaves out Sa and Pa. It does not print a full descending scale.
Source: AUTRIM
- AUTRIM, Yaman page, opening description
Learner focus
Start rising phrases from lower Ni. Hold Ga and Ni, and let phrases rest on Pa.
Source: AUTRIM
- AUTRIM, Yaman page, opening description
Caution
AUTRIM notes that the direct descent leaves out Sa and Pa, though Sa and Pa can still end rising phrases.
Source: AUTRIM
- AUTRIM, Yaman page, opening description
Study prompts
Short exercises that restate what the cited sources say.
- Sing the phrase Ni Re Ga Ma(tivra) Pa slowly and let it rest on Pa.
- Sing Ma(tivra) Dha Ni Re, then glide down to Dha and end on Sa.
- AUTRIM says a direct descent leaves out Sa and Pa. Sing a descent from Ni that skips them.
Based on: AUTRIM +10
- AUTRIM, Yaman page, characteristic phrases
- NIOS, printed p.1, Raga Parichay, Avaroha
- Artium Academy, Raag Yaman page, avaroha
- Krsna Kirtana Songs, Raga facts, Avaroha
- Rāga Junglism / George Howlett, Melodic summary, Avroh
- KalaSudha, Quick Facts / Technical Details, Avroh (Descent)
- Raag Hindustani / Sādhana, Linked scale image under corresponding raag heading; left ascent / right descent
- Swaranjali Music School, PDF page 20, labelled avaroha; raw custom-font extraction decoded against page image
- Swaranjali Music School, PDF page 6, Kalyaan synopsis, Avaroha; no superscript grace note printed
- Prabhāta Saṃgiita (article by Kirit), Raga Yaman, labelled avaroha
- AUTRIM, Yaman page, opening description
Variants
- Adding shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ma gives Yaman Kalyan, a named variant rather than an exact alias of the Ma(tivra)-only form.
Source: AUTRIM
- AUTRIM, Yaman page, description
- Yaman Kalyan uses occasional Ma between two Ga notes, with Ma(tivra) more prominent.
Source: AUTRIM
- AUTRIM, Yaman Kalyan page, opening description
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 8 sources agree
- Jati6 of 7 sources agree
- Time9 of 10 sources agree
- ArohaSources split 3–3
- Avaroha8 of 8 sources agree
- Pakad7 versions in 6 sources
- VadiAll 8 sources agree
- SamvadiAll 7 sources agree
Sources differ
Notes where the cited sources describe the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary differently. Field-by-field versions and their sources are under How the sources vote.
- NIOS prints a seven-note ascent but tells the learner to start on Ni and leave out Pa. NIOS's descent includes Sa and Pa, while AUTRIM says the direct descent leaves both out.
- Mood. The sources state this differently. The value at the top of the page follows the source cited beside it.
- ITC Sangeet Research Academy, Samay Raga page, Yaman, ‘About this raga’
- Peaceful and tranquil
- Artium Academy, Raag Yaman page, opening description
- Serene, devotional, romantic
Film songs
Film songs where a checked source names Yaman. Each song shows whether a musician has reviewed it yet.
Archive recordings
No archive recordings are linked to this profile yet. Browse all archive recordings.
Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
Holi in Yaman
AUTRIM presents Uday Bhawalkar singing a dhamarDhamarA vocal form associated with Holi themes and the fourteen-matra Dhamar taal, traditionally accompanied by pakhawaj.Source: N4 §§4.1–4.3, pp. 28–30. and 1 moreMore in the glossary in Yaman about Holi. Its lyric notes describe Krishna taking part in the celebration amid sprays of red and orange colour.
Documented · Source: Uday Bhawalkar performance: dhamar and lyric explanation
Sources for this profile
ThaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary, time, vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, arohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary, avarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary and pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary show the version the most independent publishers print; the sources page lists every version and who prints it. Other facts follow the source cited beside them. No musician has reviewed this profile yet.
- Yaman: raag profileMusic in Motion: AUTRIM (NCPA and University of Amsterdam) · cited as AUTRIMRaag profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
- Hindustani Music (242), Practical Book 2, Chapter 1: Chota KhayalNational Institute of Open Schooling · cited as NIOSGovernment open-schooling course book with raag profiles (Raga Parichay). Accessed 7 October 2026. Located by printed page; paraphrased.
- OMU-001 Introduction to Hindustani Music, Block 3 Applied Theory, Unit 1 RagaIndira Gandhi National Open University (eGyanKosh) · cited as IGNOU OMU-001University self-learning material. All rights reserved: cited by locator and paraphrased, never reproduced. Accessed 7 October 2026.
- Raag YamanArtium Academy · cited as Artium AcademyA private music academy's raag page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
- Raga YamanKrsna Kirtana Songs · cited as Krsna Kirtana SongsPublic educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and raga pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komal/andolan qualifier, retained in rawValue; normalized pitch remains komal. Accessed 17 October 2026.
- Raag Yaman: Thaat, Time & Notes | KalaSudhaKalaSudha · cited as KalaSudhaPublic raga page. robots.txt allows this public path and excludes authenticated application paths; terms reviewed at /en-in/terms-conditions. All rights reserved: factual fields are cited, prose is paraphrased, fetched text retained for local audit only. No verbatim copying of the recorded core-field context was found in the compared already-used sources or KKSongs; attribution uncertainty is not a claim of original scholarship. Accessed 17 October 2026.
- Different Kinds of Ragas by Scale (thaat) - Raag HindustaniRaag Hindustani / Sādhana · cited as Raag Hindustani / SādhanaPublic teaching chapter; robots.txt returned 404 (no directives). Terms reviewed at /TermsofUse.html, with no automation ban found. Copyright retained: cite the factual field, paraphrase prose; text and linked notation image are local audit evidence only. Staff images were visually checked. No vadi, samvadi or pakad is inferred from the teaching examples. Accessed 17 October 2026.
- Praveshika Pratham: Syllabus and Theory / Raag IntroductionsSwaranjali Music School · cited as Swaranjali Music SchoolOpen school syllabus; robots.txt returned 404 and no restrictive terms link was found on the inspected school homepage. Copyright belongs to the school/Anjali Nandedkar: factual fields are cited; prose is paraphrased; original PDF and rendered pages are local audit evidence only. Music uses a custom Latin font: ladder rawValue retains the extracted glyph codes, while normalized values were checked against rendered pages. Superscript grace notes are parenthesized in value; the source’s dot and vertical-bar octave symbols are read using its own notation guide (Praveshika PDF pp.10–11). Accessed 17 October 2026.
- Indian Classical Music in Prabhāta Saṃgiita, by KiritPrabhāta Saṃgiita (article by Kirit) · cited as Prabhāta Saṃgiita (article by Kirit)Public teaching article. robots.txt returned 404, with no restrictive terms link found in the inspected page. No open licence assumed: cite factual fields, paraphrase prose; text is local audit evidence. The article explicitly defines lowercase re/ga/dha/ni as komal and lowercase ma as tivra; single trailing prime is lower octave, double quote is upper. Printed apparent musical errors are not corrected. Accessed 17 October 2026.
- Samay Raga – The Time Theory of RagasITC Sangeet Research Academy · cited as ITC Sangeet Research AcademyPublic academy teaching page. robots.txt returned 404; no terms/automation restriction linked from the inspected home/page. Copyright retained: time facts are cited, prose paraphrased; fetched text is local evidence. This source is added only to raags for which it was not already used. Accessed 17 October 2026.
- Yaman | SRGMPDNS | Hindustani Raga Index | 365+ RagasRāga Junglism / George Howlett · cited as Rāga Junglism / George HowlettOpen-access musician-authored Raga Index. robots.txt disallows filter-result paths, not this raga page; no separate restrictive terms link found on the inspected page/about page. No open reuse licence assumed. Cite factual melodic summaries; paraphrase prose. Quoted AUTRIM/Tanarang/Parrikar passages and attributed chalan are not new independent votes. Accessed 17 October 2026.
- Yaman Kalyan: raag profileMusic in Motion: AUTRIM (NCPA and University of Amsterdam) · cited as AUTRIMRaag profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
- Vocal Music syllabus: Prarambhik to BhushanPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.