Kalyani (raga)

Kalyani

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 ragam (parent musical scale) in the Carnatic music. It is the prati madhyama equivalent of the raga Sankarabharanam. 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 ragam. The word Kalyani means she who causes auspicious things. It is the 65th melakarta ragam 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):

• arohana: S R₂ G₃ M₂ P D₂ N₃ Ṡ^[a]
• avarohana: Ṡ N₃ D₂ P M₂ G₃ R₂ S^[b]

The notes used in this scale are shadjam, chatushūruti rishabam, antara gandharam, prati madhyamam,panchamam, 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:

• Vanajakshiro is an Adi tala Varnam by Poochi Srinivasa Iyengar
• Satura Kamini is a Padavarnam by Maharaja Swathi Thirunal
• Nīvē Gathiyanī is a Tishra Matya Tala Varnam by Syama Sastri
• Vanajakshi Ninne Kori is an Ata tala Tanavarnam by Pallavi Gopala Iyer
• Unnaiyanri Veraar is an Adi tala Varnam by Dr. Lalgudi Jayaraman
• Nanmugaye Nee is a Varnam by Delhi V. Krishnamurthy
• Sudati Ninne, an Ata tala Tanavarnam and a Jathiswaram by Ponniah Pillai of the Tanjore Quartet
• Nidhi Chāla Sukhamā, Ē Tāvunnarā, Sundari Nī Divya, Ammā Rāvammā, Karu Velpulu, Sandehamu Elara, Bhajana Seyave, Nammi Vacchina, Rāmā Nīvādukonduvō, Shivē Pāhimām, Taramā Nī Mahima, Endukō Nī Manasu, Īsha Pāhimām and Vāsudēvayani by Tyagaraja
• Ganapathē Mahāmathē, Kumbhēshvarāya Namastē, Srī Mangalāmbikē, Kāmākshīm Kalyānīm Bhajarē, Abhayāmbā Jagadambā, Śrī Madhurāmbikē, Kamalāmbāṃ Bhajarē, Bhajarē Re Chittha, Shiva Kāmeshwarīm Chinthayēham by Muthuswami Dikshitar
• Kantimati Karunamrta by Subbarama Dikshitar
• Parāmugam Yēnammā, Himādri Suthē Pāhimaṃ, Birāna Varālichi, Dēvī Nannu Brovavammā, Srī Kāmākshī Kāvavē and Thalli Ninnu Nēra Nammi by Syama Sastri in Telugu
• Ninnuvina Gathi Gana and Vina Anyayamu by Subbaraya Sastri
• Adrisutavara, Pankaja lōcana, Pahimaṃ Śrī Vāgīśvari (Navarathri second day krithi), Paripahimamayi, Sarasa Suvadana and Sevesyanandureswara by Swathi Thirunal
• Madhava Hridhi, Geetha Rasike Sugunalaye, Vanchasi Yadi Kushalam and Sarasija Bhava Jaye by Oothukkadu Venkata Kavi
• Nee Sari Sati by Ponniah Pillai of the Tanjore Quartet
• Nannu Brovamani Cheppave, Bhajare Sri Ramam by Bhadrachala Ramadasu
• Kathaya Kathaya by Narayana Teertha
• Adinadu Eppadiyo by Muthu Thandavar
• Kallu Sakkare KoLLiro (3rd Navaratna Malike), Kelano Hari Talano, Nambi Kettavarillavo Rangayya, Anjikinyatakayya, Dayamado Ranga and Saranambe Vani by Purandara Dasa
• Kailasapathe Mam Pahi, Satatam Sri Vishnum and Shrimadadi Thyagaraja by Mysore Vasudevachar
• Tiliyado Ninnata By Kalluru Subbannacharya(Vyasa Vitthala Dasa)
• Unnai Allāl, Devī Srī Mīnalochanī, Vāyu Kumāran, Kanindharul Purindhāl, Sundarēshwaranē, Tēril Ērinān, Venkataramanā Pankaja, Annai Un Adiyinai and Chidambaram Ena Manam by Papanasam Sivan
• Needu Charana Pankaja by Pallavi Gopala Iyer
• Sadānandamē by Koteeswara Iyer
• Mahātripurasundarī by Jayachamarajendra Wodeyar
• Birana Brova Ide by Tarangambadi Panchanada Iyer
• Kinthu Cheyvu Njaninnaho (Padam) by Swathi Thirunal
• Gaddari Vagala/Iddari Sanduna (Padam), Vemarucherukuna/Na Manasu Vantidhe (Padam), Endhu Dachukondu (Padam) and Soyagamuna (Padam) by Kshetrayya
• Thaiyale Unnai (Padam) and Edhai Kandu Nee (Padam) by Subbarama Iyer
• Chittike Vesithe (Padam) by Sarangapani
• Ellam Ariven (Padam) by Kavi Kunjara Bharati
• Parengum Parthalum (Padam) by Ghanam Krishna Iyer
• Virahani (Padam) by Sitarama Sharma
• Entati Kuluke (Javali) by Dharmapuri Subbarayar
• Thaya Ragamalika Tillana by M Balamurali Krishna with Graha Bedam to Shankarabharanam, Mohanam, Hindolam and Darbari Kanada

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.

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]

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• Moutal, Patrick (1991), Hindustāni Rāga-s Index, New Delhi: Munshiram Manoharlal Publishers Pvt Ltd, ISBN 81-215-0525-7 {{isbn}}: ignored ISBN errors (link)