FLOW WITH LOVE IN YAMAN

Yaman Raga Information:

Raga Yaman, also known as Raga Iman, is a night raga which is very romantic in nature. Some say its origin is from the Persian mode “Ei’man” from which “Yaman” came about. Others say it has Vedic origins as Raga Yamuna which through time had its pronunciation altered as Yaman. Nonetheless, this raga is often taught to beginners in North Indian music.

There is another similar raga called Yaman Kalyana, which is the exact same structure, except there is an addition of suddha ma which is so skillfully sandwiched by a suddha ga and suddha re.

below is given the Persian modes

http://www.fretworksdesign.com/pdfs/Persian.pdf

RAAG YAMAN IN HINDI FILM MUSIC

WEDNESDAY, DECEMBER 23, 2009

Final Word

Lets close down the yaman story with some wonderful remaining yamans....
First is the second best Yaman Duets along with "Wo jab yaad aaye".
Song tags:
Rafi-Asha, Question answer, romance, chhed-chhad, Dev anand- Sadhana and finally JaiDev.....

"Abhi na jaao chhodkar ke dil abhi bhara nahi"


http://www.youtube.com/watch?v=xzg6olcxjgQ

RD burman has given 2 of the best and unique Yamans in a single movie.
Movie Masoom.
singing, lyrics, tune and picturization, all just perfect...
First Bhupendra and Suresh Wadkar. A Rare Male duet Ghazal...

"Huzur is kadar bhi na itara ke chaliye"

http://www.youtube.com/watch?v=OlVbZy-mS5g

Second the wonderfull

"Do naina ek kahani"

http://www.youtube.com/watch?v=MZL_dpb_6Lo
Khayyam sahab always relied on the Beauty of raag "pahadi" in most of his songs.
Following is one of his very few Yaman-ish compositions however here are elements of Pahadi in it. One may call this song is on the lines of "Shuddhha kalyan"
I guess out of the sheer lyrics he picked his wife Jagjeet kaur for this song. Watch out this song for the Sahir-sahab majestic lyrics...

"Tum apana ranjo gham"

http://www.youtube.com/watch?v=xlxYifOd

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Usha khanna is famous as the only Female music director. Only few know Sudha Malhotra too was as an MD. Her all time favorite duet with Mukesh has Yaman written all over it.

Tum mujhe bhool bhi jaao

http://www.youtube.com/watch?v=_rNUcRz6



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On mukesh this is the household yaman taught in all classical classes as the lakshan hindi filmi geet. Kalyanji anandi, Saraswati chandra.

"Chandan sa badan"

http://www.youtube.com/watch?v=K_dTI_GI



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A rare Jhaptaal Yaman, again Mukesh. music director Duttaraam

"Aansoo bhari hai ye jeevan ki raahen"

http://www.youtube.com/watch?v=hyK-ZNZ7



T-E

Shankar jaikishan were not famous for their classical music based compositions but they had given some wonderful raag based songs in "anari", "Suraj" and Basant Bahar etc.
This one from "Junglee" is a yaman based beauty. This is a tribute to Rafi sahab on his birthday..

"Ehsaan tera hoga mujha par"

http://www.youtube.com/watch?v=oBBKIPsA



55k

After all the heavy delicious yaman feast, finally this is the time for paan.
The very famous Paan by Ashaji for teesri qasam.

" Pan khaye saiyan hamaro"

http://www.youtube.com/watch?v=QyY4H8EY



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....................................................इति यमन पुराण......................

Marathi Bhavgeet

Bhavgeet: There is a certain MD called shrinivas Khale, who is famous for his complex but melodius tunes, Lets start with couple of his compositions on Yaman Bhavgeets.
The all college function, all small scale mehfil song of "Arun Date" and "Sudha Malhotra". Anuradha paudhval too has sung with Arun bhaiya for another version.
The song of course is great, but has become vanilla due to over-usage.
The second antara leaves Yaman and joins back at the end. Another interesting thing to note is Sudha malhotra's correct pronunciation of the unique marathi letter "la" which we have discussed sometime back.
Arun Bhaiyya date would remind you talat. I couldn't find any of the two original songs. This is some version.

"Shukrataara mandwara"

http://www.youtube.com/watch?v=-i2Lz71t6Qw

This is again a master piece from Khale sahab. There are many versions of this song on youtube. right from shankar mahadevan, Rahul Deshpande and even Rahul Saxena of indian Idol fame have sung it. But the original version was by the one and only Dr. VasantRao Deshpande.

"Baglyanchi Maal phule"

http://www.youtube.com/watch?v=bWqEOGiOlO8
Coming back to Lata-Hridaynath. This is a heavy song. Anybody who likes any form of music must listen to this song. You may or may not like it but you will surely find it interesting. This song had been a nightmare for both accompanists and singers in our short mehfils. There are 3 different taals used in this song which keep on changing at will. and the raaga although has a "Yaman Effect" keeps on changing as well.
the challenge for singer is in bringing the content, feeling and effortlessness if we take the basic notes for granted, for the players it is in controlling the singer in terms of taal and raag.
Check it out yourself. The song starts with "jhaptaal", suddenly changes to western 4 beats and then in antara it is pure ghazal dadra.

"Savar re savar re"

http://search.smashits.com/songs/hindi/like/Savar-Re-Savar-Re-Oonch-Oonch-Jhula.html

MONDAY, DECEMBER 14, 2009

Marathi Yamans.

Marathi Bhavgeets and bhaktigeets are enriched by this Raaga. HridayNath Mangeshkar and Sudheer Phadke were the main contributors.
Starting with Bhajans.
Aasha Tai has plenty in this genre. The best of her which matches the beauty of "nighahen milane ko" in my ratings for likability. Hridaynath Mangeshkar is the MD.

The beutiful abhang lyrics which describe the nirgun nirakaar brahma takes you deep in trance.

"Kannda ho Vitthalu, Karnataku"

http://ww.smashits.com/tsearch/music/al

bum/kanada-vo-vithalu.html

The lyrics contain Mangesh(shiva) and the song is out an out mangeshkar song, well Asha is originally a mangeshkar so as HRidayNath

"Maage ubha Mangesh"

http://www.youtube.com/watch?v=SZXZI-3S



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Sudhir Phadke-asha Bhosle is one of the most liked and respected combo. Here is dutt bhajan of this combo....

"Bramha Vishnu aani Maheshwar"

http://www.youtube.com/watch?v=oD8AxzgV



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Lata Bai Conveys the philosophy of "chapal man" under the direction of her brother . Watch out for the excellent flute play, yours truely has ruined one mehfil while accompanying the song on flute...

"Runu jhunu Runu Jhunu re bhramara"

http://www.geetsargam.net/bhakti_geete/

A Ganapti Bhajan. Divide Bhajan, Divide Lata

"Tuja Magato mee aata"

http://www.youtube.com/watch?v=Bepgehoo



E8g&feature=PlayList&p=188C63AE6DC9E399&


playnext=1&playnext_from=PL&index=1

A duet of Dr. VasantRao Deshpande and Anuradha paudhwal. Music director is "Anil (Mohile)- Arun (Paudhwal).
Check for the mind blow murki of vasantao is in last line of the mukhda.

http://www.ideasnext.com/marathimusic/N



isarga%20Raja-4/Pratham%20Tula%20Vandito


.htm

My all time favorate, the very very rare combo of two of the greatest classical stalwarts coming together for this abhang.
Bharat Ratna Pt Bhimsen Joshiji Joined by Dr. VasantRao Deshpande. A Samprass Vs Agassi afair. Not to be missed. The MD is Raam Kadam...

"Taal bole Chipalila"

http://www.geetsargam.net/bhakti_geete/

Contd...

MONDAY, NOVEMBER 30, 2009

exceptional Yamans.

Lets begin this mind-blowing Lata number of Bhabhi ki chudiya. MD is sudhir phadke. Like any song of Sudhir Phadke, the tune is woven under very strict limits with lots of scope for singer and raaga. Please note that the lyrics are again chaste hindi


Geet Gaati lau lagati....


http://www.desivideonetwork.com/view/7l

2c10fsx/lau-lagati-geet-gaati-bhabhi-ki-



chudiyan-lata-sudhir-phadke/


Rajshri Production had a long association with Ravindra Jain for the simple down to earth movies. Chitchor was the best musical amongst all. Again all songs are raaga based which suited the demand of the movies as well.
J Yeshudas is teaching Hemalatha the a lesson on Raag Yaman Kalyan. In the antara it shows that she has picked it up well.


"Jab deep jale aana"


http://www.youtube.com/watch?v=11yh-UCe



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The next 2 are ghazals, on which I needn't and shouldn't say more.
Unfortunately I still havent found the links of these ghazal will update it later.
First the famous mehfil ghazal of mehdi hasan sahab.


"Ranjish hi sahi"

http://www.youtube.com/watch?v=cgKDqh2c



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and second by the Ustad Ghulam Ali

"Sochte aur jaagate"

http://www.youtube.com/watch?v=sUa5kHvV



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Yaman and hindi Lyrics

A short post..
One of the strange thing observed is most of the yaman based songs have chaste hindi lyrics. At some level it can be attributed to Roshan who is known to be master of mythological movies. But there are modern songs too.

Out the song discussed in this blog till now..

"Sansar se bhagte phirte ho"
"Man re too kahe na dheer Dhare"
"aapke anurodh pe"
"jeevan Dor tumhi sang bandhi"
"tum gagan ke chandrama ho"
"tum bin jeevan kaise beeta"

are on chaste hindi lyrics.

SUNDAY, NOVEMBER 29, 2009

Yaman of LaxmiKant Pyarelal

There are very few batsmen who have scored century on Debut. This duo had scored a triple in Parasmani. In my opinion one of the 2 best Yaman duets ever (The other one will come in the discussion later). From The maturity of this song it is hard to believe that MDs were making their debut and remember they are directing the stalwarts of the likes of Lata and Rafi.
Right from the initial Alap of Lata the song goes on to be a winner. A perfect example of Viyog kalyan, with "magar rote rote hasin aa hayee hain" creating goosebumps...

"wo jab yaad aaye"

http://www.youtube.com/watch?v=4zMuomOs

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Slightly off the topic
The encyclopedia of Viyog Kalyan. Babuji (Sudhir phadke) singing geet Ramayan. The lyrics are the words of Lord Rama to Bharat when the later asks him to come back to Ayodhya instead of going to vanvas. I am sure out of the various tunes and notes in this song atleast 10 new songs can be created... 

http://www.in.com/music/track-paradhin-



aahe-jagtin-putra-manvacha-189747.html

LP's Yaman Cotd...
Ustad Kishore Kumar Khandvi was a born genius. Whatever field He had touched upon had all turned to gold. Here Ustadji Presenting his Yaman…

"Aapke anurodh pe"

http://www.youtube.com/watch?v=2XmiOfSG



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Next 3 are Lata Solos.
First is from the mythological “sati savitri”. A very typical yaman is moulded in Ghazal way but lyricists are chaste hindi.

"Jeevan Dor Tumhi sang bandh"

http://www.youtube.com/watch?v=ww6BYhED



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The next song shows why Laxmikant Pyarelaal were unique. The Ghazal lyrics are moulded in Yaman with beauty. The song starts with chorus and before the listener settles, lata starts taan, murkis and Adas. It is like people are still settling in the stadium and suddenly in the first ball of the match Sehvag hits a six.

Suni jo unke aane ki aahat

http://www.youtube.com/watch?v=MVvr6PWE



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When Laxmikant Pyarelaal created a Yaman during the making of Ram-Lakhan they entrusted it to Lata. The song has also has much to offer in term of orchestration.

Bada Dudh deena

http://www.youtube.com/watch?v=ptajgmDV



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Here Lata Joins Manna for this another yaman based “Sati-Savitri” number. This is a Rupak-yaman Combo which we will see again in later posts.

Tum gagan ke chandrama ho

http://www.youtube.com/watch?v=UYh-OKqi



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Mukesh demonstrates the Viyog kalyan in Anita. Note the lyricist is Raja mehdi ali khan.

Tum bin jeevan kaise beeta

http://www.youtube.com/watch?v=ScpgGscC



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Yaman Kalyan- the favorite Raaga of Roshans

Yaman Contd....
We can go on with Lata and Yaman, but lets change the classification and take it MD wise. Lata will anyway feature in everywhere.
Roshan's Yamans: If khamaj is for SD and RD, Piloo for OPN, Bhairavi for Shankar Jaikishan and Shivranjini for Laxmikant Pyarelaal, then Yaman is for Roshan or should I say Roshans.
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Roshan teams up with Rafi and gives this winning Score. The rare specialty of Roshan was the use of Bells and check how beautifully the ringing of the bells envelops the the last line of the mukhada.
"dil jo na kah saka"

http://www.youtube.com/watch?v=wjGAF-83

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Roshan Sahab and Ashatai celebrate this Quawwali, which incidentally heard to be on the favorite Asha song of Lataji. The song has everything, different tunes, instruments play, taans, bol taans, aalaps.

"Nigahen milane ko"

http://www.youtube.com/watch?v=pJU2tzaw



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The best example of Viyog kalyan, Rafi does the rest...

"Man re too kahe na dheer dhare"
http://www.youtube.com/watch?v=uA2FhgF6

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Junior Roshan seems to have taken the tip from the Pa Re Sa from here and gave this. No no there is absolutely no copying here. The mood, tune and everything else is very different and the descending pattern "Pa Re Sa " belongs to Yaman.

"Ghar re nikalte hi "

http://www.youtube.com/watch?v=XCbfG_vR



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Same movie Rajesh Roshan uses Yaman again. Goes more on western chooses Sanu instead of Udit. Whatever people say about Udit and Sanu but In my opinion these 2 songs are their own..
"Pyar main hota hai kya jaado".

http://www.youtube.com/watch?v=9VlqJm1a



MSI&feature=related


Coming back to senior Roshan
Lata tells the philosophy of sahir saheb on Yog and Bhog in Yaman notes. The lyrics sit right at the epicenter of Suyog Vs Viyog debate and it had to be yaman kalyan.

"sansar se ghagte phirte ho"

http://www.youtube.com/watch?v=pueoTXV6



FLY

"Barsat ki raat" was a wonderful work of Roshan so as this Yaman. Not sure but I guess this was one of the very first of the song which is shown in the movie as sung on Radio.

zindagi bhar nahi bhoolegi"

http://www.youtube.com/watch?v=LK2RwDVk

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"Dil hi to hai" was a rare association of Raj Kapoor and Roshan. Most of the songs of this movie were Raaga based. "laga chunari main daag" (Bhairavi) and "Nigahen milane ko jee chahata hai" (Yaman) had very strong classical inclinations.
Then there are these 2 famous Mukesh Solos which are Yaman based. Mukesh has always sung yaman with beauty. The honesty in the voice and note by note clarity is all evident here.

"Dil jo bhi kahega"

http://www.youtube.com/watch?v=yYG0-aSf



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"Tum Agar mujhko na chaaho"

http://www.youtube.com/watch?v=lIrvq5-C



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Tum Agar mujhko seems to be rolling over Rajesh Roshan's mental sub-conscious CD when he composed this oasis song of 1990.

Again can not be called a copy by a single iota, because the moods and notes of the two songs are entirely different. But check the rising and falling patterns of the two songs, although the notes are different but there is a very subtle similarity. The song has strong effect of Yaman, very nice catalyzing flute pieces running around Teevra Madhyam. Also After a long time (after "mere mehboob tujhe" ?) in HFM we have seen such a nice "Nazm" oration.

Talat Aziz in Daddy

"Aaeena Mujhse meri pahali see surat mange"

http://www.youtube.com/watch?v=7i_mL756



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Rajesh Roshan had a habit of creating such goose-bumpy beauties amongst the huge market demand of 'other' type of songs. His love for Yaman shows up again and again in various songs.
There was a Anil-Madhuri Movie called "Khel" in 1993. The movie was more famous for Asha's number "Idli doo idli doo". My favorite was Prem Chopra's takiya Qulaam "Aap to mera nature jaante hain".
but there was this very likable Yaman number too.

"Khat likhana hai par sochati hoon"

http://www.youtube.com/watch?v=SdYimpm6



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The discussion on Yaman and Roshan can not be complete without mention of this song. Hemant Kumar Mukherjee was a par-excellence singer and music director. Songs he was associated in anyways can be called as a different genre. Here is this duet with Lata from Mamta

"Chhupa lo yun dil mein pyar mera"

http://www.youtube.com/watch?v=wstxx7H_



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RAGAS INFORMATION

Indian classical music is based on the ragas ("colors"), which are scales and melodies that provide the foundation for a performance. Unlike western classical music, that is deterministic, Indian classical music allows for a much greater degree of "personalization" of the performance, almost to the level of jazz-like improvisation. Thus, each performance of a raga is different. The goal of the raga is to create a trancey state, to broadcast a mood of ecstasy. The main difference with western classical music is that the Indian ragas are not "composed" by a composer, but were created via a lengthy evolutionary process over the centuries. Thus they do not represent mind of the composer but a universal idea of the world. They transmit not personal but impersonal emotion. Another difference is that Indian music is monodic, not polyphonic. Hindustani (North Indian) ragas are assigned to specific times of the day (or night) and to specific seasons. Many ragas share the same scale, and many ragas share the same melodic theme. There are thousands of ragas, but six are considered fundamental: Bhairav, Malkauns, Hindol, Dipak, Megh and Shree. A raga is not necessarily instrumental, and, if vocal, it is not necessarily accompanied. But when it is accompanied by percussion (such as tablas), the rhythm is often rather intricate because it si constructed from a combination of fundamental rhythmic patterns (or talas). The main instrument of the ragas is the sitar, although historically the vina zither was at least equally important. Carnatic (Southern Indian) ragas constitute one of the oldest systems of music in the world. They are based on seven rhythmic cycles and 72 fundamental ragas. The founder of the Karnataka school is considered to be Purandara Dasa (1494). Carnatic music is mostly vocal and devotional in nature, and played with different instruments than Hindustani music (such as the mridangam drum, the ghatam clay pot, the vina sitar as opposed to sitar, sarod, tambura and tabla). The fundamental format of Carnatic songs is the "kriti", which are usually set in the style of a raga (the raga serves as the melodic foundation).

TRANCE STATE "We manage to swallow flesh only because we do not think of the cruel and sinful thing that we do. Cruelty... is a fundamental sin, and admits of no arguments or nice distinctions. If only we do not allow our heart to grow callous, it protests against cruelty, is always clearly heard; and yet we go on perpetrating cruelties easily, merrily, all of us - in fact, anyone who does not join in is dubbed a crank." - Rabindranath Tagore Conscious & Subconsious mind Our conscious mind is like the proverbial 'tip of the iceberg' (see diagram). The subconscious mind is where all the experiences of all our lifetimes are stored. The subconscious mind is not accessible in normal waking consciousness. It can be accessed during deep relaxation states or altered states of consciousness. During past-life-regression, subjects are taken to deep levels of relaxation where they enter into a trance state. In this deep state, one can access the subconscious mind where the information about the past lives is stored. Meditation produces deep levels of relaxation or altered states of consciousness. This is the reason why past life memories often open up spontaneously during meditation. To understand what happens during trance states, it is important to know about the brain wave activity. The mind has four different levels or stages of activity (see diagram). The first level is beta, during which most of the conscious mind is works on regulating the metabolism and only a small part deals with our conscious thoughts. The second level is alpha, during which the subconscious mind is activated and our concentration is very high. Alpha stage is reached during: meditation, regression-induced trance etc. A trance-state is a natural state of mind. The common misconception is that the mind is asleep during this state. However, one is fully aware when in a trance state. The third level is theta, which relates to the part of the mind that functions during light sleep. The fourth and last level is delta and is the level we reach during deep sleep. At this level the mind gets the maximum amount of rest Trance State: When we induce a trance during regression, we communicate directly with the subconscious mind. When we are functioning at full consciousness, both the subconscious and the conscious mind are functioning simultaneously. During the trance state, our concentration level is much higher compared to our normal conscious mind. Levels of Trance States: There are mainly three levels of trance states: The first level is that of a light trance. In this level, the subject does not feel as if in trance state. They are fully aware of the noises etc. in their environment. Although regressions and progressions can be done at this level, the information obtained is not very clear. Ninety five percent of the people can achieve a light trance. The second is a medium trance. In this state the subject is more relaxed. In a medium trance, the subject may be dimly aware of external noises but does not get distracted by it. About 70 percent of the people can achieve a medium trance. The last level is called a deep trance or 'somnambulistic trance'. This is a very deep level of trance and the subject may not remember what was done in the trance state unless specifically told to remember upon coming out of the trance. Only about 5 percent of the people can go into a deep trance. Even in this deep state, the subject cannot be told to do or say anything that is against his or her moral or ethical code. The subject is always in control. This is the truth and not what is often depicted in Television and Movies where people in a deep trance state are shown as if totally under the control of the person giving them suggestions. Who can enter into a Trance? Contrary to popular the misconception, intelligent people (those who can grasp concepts quickly and reapply them easily) make the best subjects for Past-Life-Regression as they can go into a trance easily. Intelligent people have excellent memory and concentration level making it easier for them to focus better and get totally involved in the process. If you are a person who; can express emotions with ease, can visualize imagery in detail or are capable of getting so engrossed in observing nature or your surroundings that you do not feel the passage of time, then you are a person who can go into a trance very easily. If you have a cynical or excessively critical nature, the chances of your going into a trance are lowered. Children can go into a trance very easily because of their good imagination, lack of cynical attitude and lack of skepticism. On the other hand the people who experience difficulty going into a trance are those; who have very short attention spans, who are always dwelling in the past, who are constantly worrying about the future, who always use logic instead of emotions, who have very low IQs, who are cynical, who are very skeptical, who resist flowing with the process etc. Other factors that affect ones ability to enter into a trance are; severe alcoholism or drug abuse, inability to follow the language of the therapist, mental retardation, brain damage. However, it is possible to work with anyone and gradually improve his or her ability to enter into a trance though the progress will initially be slow. ECSTACY ec·sta·sy  noun \ˈek-stə-sē\ plural ec·sta·sies Definition of ECSTASY 1 : a trance state in which intense absorption (as in religious ideation) is accompanied by loss of sense perception and voluntary control 2 often capitalized : a synthetic amphetamine analog C11H15NO2 used illicitly for its mood-enhancing and hallucinogenic properties—called also MDMA, methylenedioxymethamphetamine, XTC —ec·stat·ic   adjective