Shobha Gurtu, on the other hand, creates a different kind of impact in her powerful voice with a shehnai like timbre. Kishori Amonkar’s version is sweeter and classically orthodox. If we could add this rasa then I would analyse Yaman’s mood as 40% shant rasa and 20% each of bhakti, shringar and ananda rasas! Lau lagati geet gati deep hun main by Lata Mangeshkar from Bhabhi Ki Chhdiyan (1961), lyrics Narendra Sharma, music Sudhir Phadke I would now like to present two versions of the same bhajan by two great artists: Kishori Amonkar and Shobha Gurtu.
I sometimes wonder if the list of nine rasas is incomplete without a tenth –a nanda rasa. Apart from shant and bhakti rasa, this song also has a mood of joy. There can be no better illustration of this than this song – one of my all time favourites – from Bhabhi ki Chudiyan by Lata Mangeshkar, set to music by Sudhir Phadke. You can get a flavor of what this raga can do in this recitation of Bhagvad Gita by the incomparable Lata Mangeshkar Another devotional masterpiece from Lata in Yaman is the Meera bhajan Kinu sang khelun holi set to music by her brother Hridaynath Mangeshkar: Lata Mangeshkar sings Meera bhajan Kinu sang khelun holi I have commented above on the kind of everyday serenity Yaman evokes. Mohammad Rafi sings Man re tu kahe na dheer dhare from Chitralekha (1964), lyrics Sahir Ludhiyanvi, music Roshan Because of its capacity of combining bhakti and shant rasa, Yaman is ideal for recitation of Sanskrit slokas. I wouldn’t quite go that far, but there is no doubt that this is one of the great songs of Hindi films. Let me therefore begin with one of the best known works of Roshan, Man re tu kahe na dheer dhare, from the film Chitralekha.Ī few years back Outlook magazine had polled some leading music personalities to come up with a list of twenty all time great songs from films, and this song topped that list. It is an ideal raga for devotional compositions. The shant rasa of Yaman combines well with bhakti rasa. It evokes the kind of peace one feels when one is happy at home and with family, in the company of friends, watching a beautiful sunset, or doing something one enjoys. Yaman’s serenity is much closer to everyday life. The tranquility of Malkauns has a Yogic, meditative quality about it. Another great raga Malkauns is also known for evoking shant rasa, but there is an important difference between the two. The predominant mood of Yaman is tranquility – shant rasa. The difference is not much, and in this article I would use Yaman to mean both Yaman and Yaman Kalyan. Yaman Kalyan, interestingly, is slightly different, as it uses shuddha madhyam occasionally along with the teevra madhyam of Yaman. Yaman and Kalyan are two different names of the same raga. No wonder it is one of the favourite ragas of our film industry’s composers, some of whom – Roshan for example – have given their best in this raga. There is, however, no limit to the heights it can attain in the hands of a master. It sounds bland and pedestrian in the hands of a novice or an artist of average capability. Creating beauty in Yaman requires a high level of skill and sensitivity. Yes, it does have a simple structure – in the sense that it has no komal svaras, but its simplicity is deceptive.
– AK) I have never understood why Yaman is the first raga to be taught to students. Here is his piece on one of the most popular ragas which would delight both connoisseurs as well as lay listeners. Subodh bears his scholarship lightly, and writes in a style as lucid and fluent as the Raga Yaman itself. I am responsible for part of the delay as it came when I had scheduled my post on the.īut when you read it you would agree it has been well worth the wait.
Guest article by Subodh Agrawal ( Subodh Agrawal’s second article in this series has been a long time in coming.
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