 | |
| Arohanam | S R₂ G₃ M₂ P D₂ N₃ Ṡ |
|---|---|
| Avarohanam | Ṡ N₃ D₂ P M₂ G₃ R₂ S |
| Equivalent | Lydian mode |
Kalyani is a melakarta raga (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.
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 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]
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]
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):
The notes used in this scale are shadjam, chatushūruti 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 Sankarabharanam , which is the 29th melakarta. This raga is very significant to the chart, because it is sung with all higher notes.
Kalyani has many janya ragams (derived scales)associated with it, of which Hamir Kalyani, Mohanakalyani , Amritha Kalyani , Saranga, Nada Kalyani , Sunadavinodini and Yamunakalyani are very popular. See List of Janya Ragams for full list of rāgams associated with Kalyani.
This section covers the theoretical aspects 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.
Nearly every significant Carnatic composer (including the Trinity of Carnatic music) has composed several pieces in the Kalyani ragam. Kalyani is 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 Melakarta 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 Related ragams section for further information on relationships between these ragams. The state anthem of Mysore, Kayou Shri Gowri is also set in this raga. Here is a short list of compositions in Kalyani.
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. Ramanadhan. 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 is set in the Kalyani rāgam and sung without an avarohaṇam. The Bharathiar composition Veenai Adi Nee Enakku from the movie Ezhavathu Manithan is 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 is set in Kalyani.
| Song | Movie | Composer | Lyricist | Singer |
|---|---|---|---|---|
| "Mazhavil Kothumbil" | Adhwaytham | M G Radhakrishnan | Kaithapuram | M G Sreekumar |
| "Mounam Swaramay" | Ayushkaalam | Ousepachan | Kaithapram Damodaran Namboothiri | KJ Yesudas, KS Chithra |
| "Poonkatinodum" | Poomukhappadiyil Ninneyum Kaathu | Ilaiyaraaja | Bichu Thirumala | K.J. Yesudas , S. Janaki |
| "Polthinkal Kala" | Kumarasambhavam | Devarajan | O.N.V. Kurup | K.J. Yesudas |
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]
Dhīraśankarābharaṇaṃ, commonly known as Śankarābharaṇaṃ, is a rāga in Carnatic music. It is the 29th Melakarta rāga in the 72 Melakarta rāga system of Carnatic music. Since this raga has many Gamakās (ornamentations), it is glorified as "Sarva Gamaka Maaṇika Rakti Rāgaṃ".
Hamsadhvani, is a rāga in Carnatic music. It is an audava rāgam. It is a janya rāga of the Melakartha raga, Sankarabharanam (29th) but according to Hamsadhvani's prayoga or the way it is sung it is said to be the janya of Kalyani (65th).
Abheri is a raga in Carnatic music. It is a Janya raga, whose Melakarta raga is Kharaharapriya, 22nd in the 72 Melakarta raga system.
Chakravakam or Chakravaham is a rāgam in Carnatic music. It is the 16th Melakarta rāgam in the 72 melakarta rāgam system. According to the Muthuswami Dikshitar school, this rāgam is called Tōyavēgavāhini. Chakravakam is similar to Raga Ahir bhairav in Hindustani music.
Naṭabhairavi is a rāgam in Carnatic music. It is the 20th melakarta rāgam in the 72 melakarta rāgam system. It corresponds to the Natural minor scale of western music system.
Mohanam is a raga in Carnatic music. It is an audava rāga. It is usually described as a janya rāga of Harikamboji. However, alternate opinions suggest that Mechakalyani may be a more appropriate classification based on the lakshana of the raga.
Shuddha Saveri or śuddha sāveri is a ragam in Carnatic music and Yakshagana music. It is an audava rāgam. It is a janya rāgam of the Melakarta ragam Dhīraśaṅkarābharaṇaṃ which is 29th Melakarta raga. In Hindustani music it is called Durga. According to the school of Muthuswami Dikshitar, this rāgam is called Devakriya. Karnataka Shuddha Saveri, a janya rāgam of 1st melakartaKanakangi, is called Shuddha Saveri by the Dikshitar school.
Hemavati is a ragam in Carnatic music. It is the 58th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.
Shanmukhapriya is a ragam in Carnatic music. It is the 56th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Chāmaram in Muthuswami Dikshitar school of Carnatic music. It is said to be borrowed into Hindustani music from Carnatic music. Many compositions on Lord Murugan and Lord Shiva are based on this raaga.
Ganamurti is a ragam in Carnatic music. It is the 3rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music.
Manavati is a rāgam in Carnatic music. It is the 5th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. In Muthuswami Dikshitar school of Carnatic music, the 5th melakarta is Manōranjani.
Suryakantam or Sooryakantam is a rāgam in Carnatic music. It is the 17th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Chāyāvati in Muthuswami Dikshitar school of Carnatic music.
Chalanata is a rāgam in Carnatic music. It is the 36th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is one of the few rāgams referred by the same name in Muthuswami Dikshitar school of Carnatic music.
Namanarayani is a rāgam in Carnatic music. It is the 50th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Nāmadēshi in Muthuswami Dikshitar school of Carnatic music.
Vishwambari is a rāgam in Carnatic music. It is the 54th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Vamshavati in Muthuswami Dikshitar school of Carnatic music.
Neetimati is a rāgam in Carnatic music. It is the 60th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Nishādham in Muthuswami Dikshitar school of Carnatic music.
Kosalam is a ragam in Carnatic music. It is the 71st Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music and is the prati madhyamam equivalent of Shoolini, which is the 35th melakarta. It is called Kusumākaram in Muthuswami Dikshitar school of Carnatic music.
Sunadavinodini is a rāgam in Carnatic music. It is an audava rāgam. It is a janya rāgam, as it does not have all the seven swaras. This raga was discovered by Mysore Vasudevachar.
Shivaranjani or Sivaranjani is a musical scale used in Indian classical music. There are two scales, one in Hindustani music and one in Carnatic music. The Hindustani rāga is a pentatonic scale, as is the Carnatic scale categorized as Audava-Audava resulting in 5 notes in the Arohanam and 5 in the Avarohanam.
Amr̥tavarṣiṇi is a rāgam in Carnatic music, created in the early nineteenth century by Muthuswami Dikshitar. It is an audava rāgam in which only five of the seven swaras are used. It is a janya rāgam, fairly popular in Carnatic music. There is a belief that Amr̥tavarṣiṇi causes rain, and that the Carnatic composer Muthuswami Dikshitar brought rain at Ettayapuram, Tamil Nadu, India by singing his composition, Aanandaamrutakarshini amrutavarshini.
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