11-639: Yamunakalyani is the janya raga of Mechakalyani , the 65th Melakarta ragam. It brings out Bhakthi, Sringara, Gambheera and Shantha rasas. Yamunakalyani / Yaman kalyan / Yaman Kalyani is a Sampoorna Bhashanga Raga.It is said to be borrowed from Hindustani music and is the Carnatic adaptation of the Hindustani raga: Yaman Kalyan . Its arohana - avarohana is as follows: The swaras are Shadjam, Chathusruthi Rishabham, Antara Gandharam, Panchamam, Prathi Madhyamam, Chathusruthi Dhaivatham, Kakali Nishadam. Shudha Madhyama
22-479: A feel of a different but similar raga), presence of gamakas (oscillations and graces around the note), stresses on notes or lack of them, the time of day when a raga is sung, rasa or mood that they evoke, etc. Bilahari Bilahari is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a janya rāgam (derived scale) from the 29th melakarta scale Sankarabharanam . It
33-477: A variety of features. Ragas that omit (varjyam, to omit in Sanskrit) one or more of the notes of the scale ( swaras ) of their parent melakarta raga, in the ascending or descending scale or in both, fall into this category. Different notes may be omitted from the ascending arohana and descending avarohana scale. Such scales are given the names listed below. vrja a Since these terms are applicable both to
44-486: Is a janya scale, as it does not have all the seven swaras (musical notes) in the ascending scale. It is a combination of the pentatonic scale Mohanam and the sampurna raga scale Sankarabharanam . Bilahari is an asymmetric rāgam that does not contain madhyamam or nishādham in the ascending scale. It is an audava-sampurna rāgam (or owdava rāgam, meaning pentatonic ascending scale). Its ārohaṇa-avarohaṇa structure (ascending and descending scale)
55-591: Is as follows: Jamboopathe by Muthuswamy Dikshitar , set to Rupaka talam is a famous composition. Some other famous compositions in Yamunakalyani are Krishna Nee Begane by Vyasatirtha , Bhavayami Gopalam by Annamacharya, Pibare Ramarasam by Sadashiva Brahmendra, O Rama Nee Nama by Bhadrachala Ramadasu , Sri Ramachandra Kripalu by Sant Tulsidas , Haridasulu by Tyagaraja and Kadana Vatsava Hari by Vijayadasa in Kannada , Bideno Ninnangri By Prasanna Venkata Dasaru .Also
66-404: Is as follows: The notes used in this scale are shadjam, chathusruthi rishabham, antara gandhara, panchamam and chathusruthi dhaivatham in ascending scale, with kakali nishadham and shuddha madhyamam included in descending scale. For the details of the notations and terms, see swaras in Carnatic music . This rāgam also uses kaishiki nishadham (N2) as an external note ( anya swara ) in
77-465: Is seen in avarohana, but it must be used sparingly. Usually the avarohana is sung with a brief instance of M1 between G3 and R2. The jeeva swaras are– R, G, M, D and N. S, G, P and N forms the Graha swaras. M1 is the anya swara. The characteristic phrases of this raga are NDNR -NRNG – DNRG. PMRGR – GMR SNRS(Ranjaka prayogas). Another type of this raga, with shadava-shadava scale, according to some sources
88-604: The Bhajan that India presented before the UNGA (Maithreem Bhajatham) in 1966 composed by the Kanchi Periyava and sang by Amma (MS Subbalaxmi) is set to this Ragam at certain parts of the Bhajan. Janya Janya is a term meaning "derive". In Carnatic (South Indian) music a janya raga is one derived from one of the 72 melakarta ragas (fundamental melodic structures). Janya ragas are classified into various types based on
99-870: The ascending and the descending scale, ragas can be classified as Audava-Sampurna – 5 notes in ārohaṇa and 7 in the avarohaṇa – Shadava-Sampurna – 6 notes in ārohaṇa and 7 in the avarohaṇa , as in Kambhoji raga and so forth. Sampurna-Sampurna ragas are not necessarily Melakarta because they may use notes not in the parent scale or vakra prayoga , a "zig-zag" scale instead of sequential ascent and descent). Such ragas are termed vakra ragas. Examples are Nalinakanti , Kathanakuthuhalam , Darbaru , Jana Ranjani and Kedaram . See full List of Janya Ragas for more examples. (see swaras of Carnatic music for an explanation of above notation) Upanga ragas are strictly derived from their parent melakarta raga and do not use any note not found in
110-686: The highest note is not the shadjam (sa), at which the base sruthi ( drone ) of a performance is set. The classifications in this category are as follows. Karnataka ragas are those that are considered to have originated in Carnatic music. Examples are Shankarabharanam , Lalitha and Shuddha Saveri . Desya ragas are those ragas that have their origins in other music, majority of them originating in Hindustani music . Examples are Yamunakalyani , Desh , Behag and Sindhu Bhairavi . There are various other classifications of janya ragas. These are based on relationships with other ragas (they give
121-426: The parent raga's scale. Examples of upanga ragas are Shuddha Saveri , Udayaravichandrika and Mohanakalyani . Bhashanga ragas have anya swara(s) (external note; note not found in parent scale) in their ārohaṇa, avarohaṇa or both. Examples of Bhashanga ragas are Kambhoji , Bhairavi , Bilahari , Saranga , Behag and Kāpi . Some janya ragas are sung in only one octave. Moreover,
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