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Reply with quote  #1 
Hello all,

I am trying to understand the structure of the kalyan/yaman raag. I do understand it in theory. All discussion of this raag states that Pancham is to be avoided or treated lightly in the aroha... however, all of the swaramalika or sargam geet lessons that I have found online, far from eliding pa, seem to feature it, ascending to it and stopping on it! Here is only one of the many examples on youtube:

Can anybody give me an explanation for this seeming contradiction? I'm trying to understand how lakshana are applied, but having some difficulty.

I would greatly appreciate if some of the experts here could help me out. Thanks so much in advance.


Senior Member
Posts: 464
Reply with quote  #2 
Both possibilities are permitted : Either stopping on Pa or skipping it .
Notably , Pa is also a nyas swar ( a note to rest on ) in Yaman :

Parrikar :
Some additional details of the flagship of the Kalyan raganga – Raga Yaman - bear scrutiny. The existence of several nyasa sthanas – S, R, G, P, N – is indicative of its expansive melodic space. The teevra madhyam is often elongated during the elaboration portion of the performance. The odd one out is dhaivat – we make short shrift of it since a nyasa there is damaging to the raga dharma .
More on Pa from Parrikar :
The skipping of shadaj and pancham in arohi movements – N’ R G and m D N – lends Yaman a distinct locus.


The langhan alpatva of S and P is sometimes observed in avarohi movements as well. To wit, R” N D m G R. Although the skipping of S and P is part of Yaman’s normative behavior, the inclusion of arohi S and P is not verboten. A deliberate construct such as S R G m or m P D N is observed in bandishes and tans (as some of the clips will later attest). Other features seen in performance – leaps spanning G-N and N-G, m-N and N-m.
Well , it seems that the skipping of Pa is desired in upward phrases , but its inclusion therein is not forbidden .

( I know the singer of your link is a student , but , frankly speeking , she could have practiced more before putting the clip online ... :| )
Nonetheless , the skipping of Pa occurs in several places : 0:25 and 1:04 .

In this clip , the singer is more in tune :

The skipping of Pa occurs in the 4th line of the sthayi and in the 1st , 2nd and 4th lines of the antara .

सहस्रनाम ततुलयम राम नाम वरानने |
Sahasranāma tat tulyam Rāma nāma Varānane .
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