Hindustani Music Guide
यमन
A foundational evening raag known for luminous breadth and the use of tivra Ma.
Raag Yaman is often introduced early in Hindustani music study because its melodic space feels open, balanced, and expansive. It is commonly associated with serenity, radiance, and refined lyricism. Different lineages may emphasize phrase treatment differently, but the raag is widely understood as a major gateway into evening raag aesthetics.
This summary is designed as a learner-facing orientation. Interpretive details can vary by source and performance lineage.
Ni Re Ga Ma(tivra) Dha Ni Sa
Sa Ni Dha Pa Ma(tivra) Ga Re Sa
Ni Re Ga, Re Ga, Dha Ni Sa | Ni Dha Pa, Ma(tivra) Ga Re
Uses tivra Ma; Pa is generally stable, and shuddh Ma is ordinarily avoided in canonical treatment.
The repose on Ga and Ni is frequently emphasized. Phrase treatment matters more than scalar listing alone.
These embeds are included as listening leads. Curated performance choices should be reviewed editorially over time.
Pt. Jasraj - Raag Yaman
Pt. Jasraj
A widely shared classical vocal performance in Raag Yaman.
Ustad Rashid Khan - Raag Yaman
Ustad Rashid Khan
A celebrated vocalist's rendition of Yaman demonstrating expansive alap.
Pt. Hariprasad Chaurasia - Raag Yaman (Flute)
Pt. Hariprasad Chaurasia
An instrumental flute performance showing Yaman's lyrical possibilities.
Bollywood song to raag mappings can vary by source and interpretation.
Chaudhvin Ka Chand (1960)
Singer: Mohammed Rafi. Composer: Ravi. Commonly cited as an approximate Yaman Kalyan association.
Listen on YouTubeKarz (1980)
Singer: Asha Bhosle. Composer: Laxmikant-Pyarelal. Frequently mentioned in popular raag-song lists as touching Yaman scalar color.
Listen on YouTubeAnpadh (1962)
Singer: Lata Mangeshkar. Composer: Madan Mohan. Often cited as having Yaman-based melodic movement.
Listen on YouTubeTraditional compositions set in this raag.
Jhaptaal
Baat hamari mano re saiyan, kahe ched rahe ho
Ektaal
Ero ri aali piya bin mora jiya ghabraye
Chautaal
Hari Narayan Govind Jai Jai, Vasudev Narayan Hari
Dhamar
Khelat Hari hori Brij mein, gulal udi rang bhari
Teentaal
Mere raja main to tore sang laagi, ab to nind nahin aave raati
Tilwada
Mora mann harshaye aaj, piya ghar aaye
Rupak
Nainon mein badra chhaye, piya ki yaad sataye
Teentaal
Sunata dhun yaman ki, gaavat man sukh paye
Teentaal
Tum bin kaun khabar more leve, din rain tarse nayanwa
Derived from shared thaat, mood, or time-of-day relationships.
भूपाली
A bright pentatonic evening raag using Sa Re Ga Pa Dha, known for clarity and approachability.
Thaat: Kalyan
Time: Evening
कामोद
A joyful evening raag with a characteristic Sa-Re-Pa leap and bright, celebratory character.
Thaat: Kalyan
Time: Evening
सरस्वती
A rare and devotional evening raag named after the goddess of learning, with a serene and luminous quality.
Thaat: Kalyan
Time: Evening