Vaadi – 1st
Samvaadi – 2nd
Niyas – 3rd
Anuvaadi – 4th
Vivaadi – 5th
In order to
compose an alaap for any raga, it is important to
initially establish the Sa. The closest most important
note to Sa will be second important note (samvaadi).
Once the Sa has been established, the singer is then
required to establish the first, second, third and
fourth important notes respectively.
In brief in
all alaap compositions, Sa of madh saptak is
considered to be a very important note and therefore
must be established reasonably quickly. Sa can’t be
directly established and has to be approached from
either the vadi or samvadi. The vivadi is also an
important note that must be used but too much emphasis
on this note will change the raga.
In alaap, the musician improvises each note gradually.
Beginning with the lower octave and in a slow tempo. The
alaap is sung in the beginning of the raga at the time
of a performance. When the musician starts
rendering a bada khayal or chotaa khayaal
(bandish) the tabla or any other percussion instrument
joins. Alaap is used again with the composition, some
time with the rhythm and is slightly faster. Some times
the words of the song are also improvised with notes.
This is known as bol alaap. This process of establishing
the important notes and thus revealing the raga step by
step is known as a barat. Finally the alaap must end on
the most important note in all ragas, that is the madh
Alaap is usually sung in Aakaar i.e. without pronouncing
any syllables only using the sound "aa" of the vowel.
Sometimes syllables like teri, Nom, Tom are also used
for singing the alaap. Vilambit alaap presented in
sections from low notes to high.
Arohi: 'N R G M D N
Amrohi: S' N D P M
G R S
Yaman Alaap & Film Song By Iqbal Yousuf Ramzi
Exercise Raga Yaman/Aiman
Raga Yaman or Aiman are same. Some people call Yaman and some call
it Aiman. Our practice will be in the madh saptak. In Raga Yaman all
the notes are tiver and we have shown tiver notes with capital
letters throughout the website. In the below given exercise of
raga yaman use your index finger for the note S and keep finger on
note S for at least two seconds and then use your second finger for
the second note R and stay on the note for 2 seconds. Now use your
third finger for the note G and stay there for two seconds as you
have done on previous two notes. By pressing the above three notes
one by one you will also utter Sa, Re, Ga on each note and duration
on each note must not be more than two seconds.
Then repeat the same process on the notes R G M, and rest of the
arohi. After practice of arohi practice amrohi. Practice whole arohi
and amrohi for at least ten minutes.
S R G, R G M, G M P, M P D, P D N,
D N S',
S' N D, N D P, D P M, P M G, M G R, G
Fingering Yaman Arohi:
S = Finger 1, R = Finger
2, G = Finger 3
R = Finger 1, G = Thumb, M = Finger 1
G = Thumb, M = Finger 1, P = Finger 2
M = Thumb, P = Finger 1, D = Finger 2
P = Finger 1, D = Finger 2, N = Finger 3
D = Finger 1, N = Thumb, S' = Finger 1
Film songs of Raga Yaman or Aiman
Akale na jana, Film Arman
Ansoo bhari hain, Film Parwarish
Lagta nahi hai dil mera ujre dyaar mein, Ghazal by Mohd. Rafi
Chandan sa badan chanchal chitwan, Film - Saraswati Chandra
Alaap Raga Yaman Kalyan
Please do not confuse with different ragas of thaat kalyan.(aiman,
yaman, yaman kalyan, shuddh kalyan). Most of the ragas of kalyan
thaat have only one note difference. For a beginners important ragas are
provided in "sargam book" and in "keyboard in desi style". Most of the
film songs are based upon important ragas which already have been
provided in our books and e.books.
Raga Yaman Kalyan
is named after valley of Yaman and Hazrat Amir Khusroo have invented
this raga. Raga Yaman is derived from Thaat Kalyan (Parental scale). Its
Vaadi (main note) is G and Samvaadi (second in importance) is N. Its
Jati (class) is Shadav-Sampoorn. Its time of performance is evening. Its
Pakad is ’N-R-G-M-P-R-G-R-’N-R-S. It is played in mandr saptak. Its
bhaav is Shadj-Pancham.
In thaat sargam the seven notes ascending and descending are taken but in
raga extra tiver or komal notes are also taken or not taken. So, study
tiver and komal notes theory from harmonium lessons of this
website. In Alaap,
you need not speak 'N R G etc, sing only Aaaaaaa......Match your voice
frequency with the sound coming out of Harmonium or Keyboard while
pressing the right key. At comma ( , ) stop for a short while but at
dash ( - ) and ( , ) both together, take out breath completely and
take in again. Raga Yaman Kalyan has all 7 notes, all of which are pure
(normal) notes except M which is Tiver (Sharp) and represented as M.
Normally S and P are not used in ascending order e.g. 'N R G or M D N.
In descending order all the notes are used in the below given raga.
Here we have shown arohi notes (ascending notes) and amroi notes
(descending notes) of madh saptak. In raga yaman kalyan there are seven
notes in ascending and seven notes in descending. First note Ni belongs
to mandar saptak and our allaap will begin from mandar saptak note 'N.
In the following diagrams we have shown note 'N in mandar saptak and our
alaap starting point.
Yaman Kalyan Diagram Shown For Alaap Practice
Mandar or left octave Note shown as
('S) - Madh or middle octave as (S) - Taar or right octave (S')
Arohi: 'N R G M D
Amrohi: S' N D P M G m G
Alaap Raga Yaman Kalyan
In alap, you need not speak 'N R G etc,
sing only Aaaaaaa......Match your voice (frequency) with the sound
coming out of Harmonium or Keyboard while pressing the right key.
2. At comma ' , ' stop for a short while
but at dash ' - ' and ' , ' both together, take out
breath completely and take in again.
3. Raga yaman kalyan has all 7 notes, all of which are
pure (normal) notes except M which is tiver (Sharp) and
represented as M.
4. Normaly S and P are not used in ascending order. In
descending order all the notes are used.
'N R G , R S - , 'N R G M G - , G M P - , M G -
, R G R S -
b. 'N R S - , S 'N D P - , M
D 'N R G - , G M G - , P M G R S -
a. 'N R G M
P - , M D N D P - , M D N S' - ,
S' N D P - , N D P - , M G - , R G - , R S -
b. G M' D N S' - , N R. S' -
, S' N D P - , M D N S -
a. M D N R
S' - , N R G - R S' - , S' N D P - ,
M' D N - , M D N R S' -
b. G M D N R. S' - , N R G -
, R S - , N R M G R G R S' - , S' N D P - , M D N S' -
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