Raag Yaman

Listening to Raag Yaman is a little bit like a walk in the woods. Intially, a couple of trees appear to give you company, and before you realize it, you have lost yourself completely in the thick foliage. A riot of green explodes around you on every side.

Technically, Yaman is possibly the only raag that does not start with a “Sa”. Instead, it starts with a “Ni”. 

In Indian classical music, the swar Sa has primordial importance, and Yaman is indeed a rare exception on account of this departure. In that sense, the swar “Ni” becomes paramount in Raag Yaman.

Raag Yaman is indeed extraordinary. Even today, every year you see new songs getting added to its repertoire, bringing a fresh perspective to this raag. I don’t think these has been a single musician of repute in India who has never made a song in Raag Yaman.

The raag utilizes all seven swars and  - except Ma – all in shuddh form. As a result, it provides a wide canvas for one to paint. One could perhaps write a separate book classifying all songs made in this Raag!

Technically, the time for Raag Yaman is the early evening. But the sweetness of the Raag is such that one can render it at any time of the day and still enjoy its beauty. Even a person who has no sense of classical notation – and there are so many of them – would still find this Raag appealing. The main swars are Ga and Ni, yet  many artists prefer to stress the sharp Ma. But then, each Raag has such special features. The beauty of a Raag is like that of a beautiful woman. No separate feature – eyes, nose, chin - may appear extraordinary by itself and yet the overall beauty can be bewitching!

Here is an extract from the poem “Urmila” by the famous Marathi poet “Grace”:

"त्या दाट लांब केसांचा, वाऱ्यावर उडतो साज;

दु:खात अंबरे झुलती, की अंग झाकते लाज…. 

तरि हळू हळू येते ही, संध्येची चाहूल देवा;

लांबली उदासीन क्षितिजे, पाण्यांत थांबल्या नावा….

(Thick, long tresses..flying gracefully in the wind

Are they hiding a deep sorrow, or demurely covering the shy girl?

But then, softly, comes the lengthening shadow

And stretches the sad horizon, the ships paused mid-stream)

Simultaneously eliciting unspoken desires while also hinting at the perennial awareness of the ‘sad horizons’ visible in the background. A word picture of just one of the many faces of this multi-faceted raag.

Here is a rendition of Raag Yaman by the famous sitarist Shahid Parvez from Itavah gharana. Truly unique! Ustad Parvez has demonstrated his extraordinary talent through the innumerable programs held in India and all over the world. A little closer attention will show you a confluence of the musical styles of both Ustad Vilayat Khan and Pandit Ravishankar, with a slight leaning towards the former. This is especially noticeable in the “gayaki” style adopted from time to time.

It is particularly seen in the initial Aalap, with the “Ni Re Ga Ma” swars. The gaat starts off with flat notes and slow movements and suddenly the raag manifests itself before you in all its grandeur. Particularly enjoyable is the manner in which he creates a "खेंच" through pressing the strings and dampening the notes.

https://www.youtube.com/watch?v=v7zYGO1Xcw4

There are hundreds of love songs in Hindi films based on Raag Yaman. But one that would particularly stand out is the song “Aabhi Na Jao Chodakar” from the film “Hum Dono”. The song captures the mischievous flirting of a young couple. The very first line coming from the playful throat of Muhammad Rafi puts Yamaan squarely before the listener. As you go along, you notice two separate “Ma” appearing, and the song departs from orthodox Yamaan. But then, this is the kind of liberty that any film musician is likely to take in the interest of his song.

"अभी ना जाओ छोडकर, के दिल अभी भरा नही. 

अभी अभी तो आयी हो, बहार बन छाई हो;

हवा जरा महक तो ले, नजर जर बहक तो ले;

ये शाम ढल तो ले जरा, ये दिल संभल तो ले जरा;

मैं थोडी देर जी तो लू, नशे के घूंट पी तो लू;

अभी तो कुछ कहा नहीं, अभी तो कुछ सुना तो नहीं".    

https://www.youtube.com/watch?v=0l2Jul5yptE

Sahir Ludhianvi’s writing also appears in the same romantic tempo. The romance is not necessarily understated, yet there is a sense of controlled expression – not really letting oneself go – a sort of promise of more to come, that works wonders in making the song extremely popular. Rafi appears slightly over-dramatic while singing “Nashe ke ghoont pi to loon”, but on the whole, the song remains in the same playful mood – even during the taans and the harkats.

One song which can truly stand up to the description of “chaste and pure” in the Indian film world, is this immortal one “Chupa lo youn dil me pyar mera” from the movie “Mamta”. Resonating Raag Yamaan!

Roshan is a musician who prefers tunes of a quiet nature – even his romantic songs have a laid back quality in them. And here of course we have the pathos and pain of separation! Truly an epic example of how so many emotions can be displayed in this versatile Raag:

"छुपा लो युं दिल मे प्यार मेरा

के जैसे मंदिर में लौ दिए की,

तुम अपने चरणो में रख लो मुझको 

तुम्हारे चरणो का फुल हुं मैं,

मैं सर झूकाए खडी हुं प्रीतम 

के जैसे मंदिर में लौ दिए की". 

https://www.youtube.com/watch?v=GXgKgZt9Jik

The poet Majruh Sultanpuri too has reached stellar heights here. The concept of equating love with the soft flame of a temple lamp is something that only an extraordinary poet like him can imagine. Every line in the poem is “just so”, and one cannot imagine a single word being replaced by a better one.

The song slowly rises to a crescendo, and - at its peak - anchors itself deeply in the listener’s mind. It remains true to Raag Yamaan all through, but ends up giving the listener much more that just a rendition of an important Raag...

(We will conclude our foray into this Raag with the next article.)