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Aadi Dev Mahadev Yaman Bandish With Notation | Indian Classical Music | Riyaz Daily
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Lyrics :
आदि देव महादेव हे दयानिधे !
नीलकण्ठ पार्वतीश हे कृपानिधे !
आदि देव महादेव हे दयानिधे !!
नमस्तेस्तु विश्वेशर त्र्यम्बकेश गङ्गाधर
नन्दिकेश भालचन्द्र हे पशुपते !
आदि देव महादेव हे दयानिधे !!
Aadideva mahadeva hey dayanidhe
Neel kantha paarvatheesha hey kripanidhe
Namastestu vishweshwara tryambkesha gangadhara
Nandikesha bhaalachandra hey pashupathe
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0:00 slow
4:00 fast
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 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.
None of the three great treatises of music, accept the existence of tivra ma
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
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)".Kaufmann says that Yaman and Kalyan are just different names, but insists that rāga 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 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. 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.
Famous Bandishes In Raag Yaman are as under :
(1) Eri Aali Piya Bin
(2) Piya Ki Najariya
(3) Aadi Dev Mahadev
(4) Kinare Kinare
(5) Aao Aao Aao Balama
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