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Yaman Tamil Movie Ringtones Download
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Yaman emerged from the parent musical scale of Kalyan. Considered to be one of the most fundamental and basic ragas in Hindustani tradition, it is thus often one of the first ragas taught to students.
Yaman's Jati is a Sampurna raga (ideally, yaman is audav sampoorna raag because of the structure- N,RGmDNR'S' NDPmGRS) 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 audav, the Aroha goes like N,RGmDNS', where the fifth note is omitted; Pa but the Avaroha is the same complete octave). All the scale notes (called swaras) in the raga are Shuddha, the exception being Teevra Madhyam or prati madhyamam (sharp fourth). The notes of the raga are considered analogous to the western Lydian mode.
Not to be mistaken, Raag Yaman is slightly different from Raag Yaman Kalyan. Both have almost the same base, but they are sung differently. The Aroha and Avaroha of Yaman Kalyan goes like this:SRGmPDNS'S'NDPm GMGRN, RS[clarification needed]
It is wrong to say that Kalyan has no specific phrases or particular features, many musicians avoid Sa and Pa in ascend or treat them very weakly in Yaman. One often applies N0 R G M+ D N S' in ascent and S' N D M+ G R S in descend[1]).
Sa is avoided in beginning the ascend such as N0 R G M+ P D N S'
There is some discussion as to whether Yaman and Kalyan are just different names for the same raga, or that they are actually two distinct ragas. Joep Bor says "Kalyan (today usually referred to as Yaman)".[2] Kaufmann[3] says that Yaman and Kalyan are just different names, but insists that rga Yaman-Kalyan is different as 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). S. Bagchee[4] agrees with Kaufmann.As Bor, Kaufmann and Bagchee are not practising, professional and traditional musicians and artistes with training from qualified musicians, their opinions and observations must be accepted with a pinch of salt. An analysis of the raag leads some musicians to believe that the names of the raags Yaman and Kalyan are different, so their tonal movements shall be different (Kalyan is more akin to shuddha Kalyan, not Yaman). People erratically believe that if natural Ma is occasionally added in a concluding figure leading to Sa, the raga is known as Yaman-Kalyan.[2]Practically, yaman has a raganga very different from Kalyan raganga, resembling colours of Shuddha Kalyan. The use of shuddha ma must be restricted as a Vivadi swara (limited use) or grace note for Yaman Kalyan otherwise there is a chance of it becoming Yamani, Yamani Bilawal, Jaimini Kalyan. Moreover, neither of Kalyan or Yaman has Shuddha Ma in its main body thus use of shuddha Ma does not create Yaman Kalyan. Ideally there is no raga at all in Indian music that is recognized as any type of Kalyan because of shuddha Ma, thus raga Yaman Kalyan becomes a misnomer because of Shuddha Ma in the tonal structure of raga Yaman.
Kalyan is mixed with several ragas that has either of Kalyan ang or Yaman ang:
Yaman is regarded [by whom?] one of the grandest and most fundamental [peacock prose] ragas in Hindustani music. It is one of the first ragas taught to students but it also has great scope for improvisation. Raag elaboration can focus more on mandra and madhya saptak, thus the key note chosen for yaman is preferred to be a higher tone.
Hindustani vocalist, scholar, and researcher Ramkrishna Das Nadrang suggests that some musicians believe Yaman's origin traces back to Yemen, a country in the Middle East situated at the southern end of the Arabian Peninsula. However, there exists no historical evidence or record of Yemeni natives practicing the Yaman melody within the context of Hindustani music in India. Consequently, Yemen seems to lack any substantive connection to the raag Yaman.
Within the traditional confines of the Gwalior gharana and certain olden Hindustani music schools, music masters assert that a learner must imbue faith (IMAAN) in their teacher-mentor's words to progress in music. Consequently, they emphasize the importance of "imaan laao (submitting to the aphorism)," making Yaman the starting point for music instruction. As a result, the term "yaman" became synonymous with "iman," aligning it closely with the term "imaan."
Ramkrishna Das posits an alternative hypothesis suggesting that the word "yaman" may be linked to Sanskrit "Yavan" (Muslim). This theory posits that the raag Yaman evolved from Kalyaan, as puritan Hindu musicians began referring to the melody as "kalyaan of the Muslim artistes" or "yavanon kaa kalyaan." Over time, this term transformed into "yavan kalyaan," then "yaman kalyan," and finally, "yaman."
In South Indian Carnatic music, a similar melody is referred to as "yamuna kalyaani," while the Gwalior Paluskar tradition introduced a raag named "Jaimini Kalyaan," which potentially aligns with the Carnatic name. This transformation into "Yaman" was, in a sense, a derogatory term, as it altered the sanctity of Kalyaan due to its intricate tonal movements, characterized by excessive zigzag patterns and internal skips or gaps between notes.
Yaman accentuates notes ni, ga, and ma, with limited use of saa and pa during the ascent. In contrast, Kalyaan emphasizes saa, pa, re, ga, with minimal reliance on ma and ni. Raag Kalyaan also exhibits frequent downward movements, similar to the model of raag shuddha kalyaan.
Spontaneous use of tivra madhyam is evident in the tune of raag "janglaa," prevalent in the rasiya singing of Braj-Vrindavan (mPGMPmP NDNS' DNP- nDP GMPmP). However, in Indian folk melodies, tivra ma is rarely and spontaneously employed. Since tivra ma, komal re, and komal dha were not acknowledged in the Naatya Shaastra, Brihaddeshi, and Sangeet Ratnaakar (1245 AD), raag Kalyaan did not exist in the pre-Muqaam or pre-Melakarta system of raags.
Yaman, or the commonly referred to term "kalyan," accommodates almost all tonal combinations. Renowned sitar maestro Abdul Halim Jaffer Khan used to affirm, "Ye man jo chaahe wahi yaman hai," emphasizing the vast umbrella of possibilities for tonal combinations within Yaman. 152ee80cbc
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