According to current pedagogical canons, raag Yaman has all shuddha or natural notes except for the madhyam or fourth note that appears as a teevra or sharp variant, but raag Yaman Kalyan uses both madhyams – shuddha and teevra. The manner of using the shuddha madhyam in the latter case depends upon the composition chosen for vistaar or elaboration.
The second part of the series on raag Yaman features recordings of vocalists from the Agra gharana.
Ustad Faiyaz Khan
Raga Yaman Kalyan
Maestro Faiyaz Khan (1881-1950), whose charismatic singing influenced successive generations of Agra gharana vocalists, begins his recital with a short aalaap in the dhrupad style. This is followed by a traditional khayal composition in raag Yaman Kalyan set to vilambit or slow Ektaal, a cycle of 12 matras or time units. Faiyaz Khan uses the shuddha madhyam sparingly through the performance.
Replete with heavy gamaks or oscillations on notes, long meends or glides, several varieties of taans or quick melodic passages including some patterns that are used in the tappa form, the recital captivates the listener with its expansive quality and grandeur.
Ustad Azmat Hussain Khan
Dilrang (Main Vaari Vaari Jaaungi) – Raag Yaman
Azmat Hussein Khan (1911-1975), originally a disciple of his maternal uncle Haji Altaf Hussein Khan of the Khurja gharana, also studied under his brother-in-law Vilayat Hussein Khan of the Agra gharana, and his paternal uncle Alladiya Khan of the Jaipur-Atrauli gharanas.
Azmat Hussein Khan sings a drut or fast khayal composed by Vilayat Hussein Khan. The vistaar primarily focuses on taans that are sung in a staccato style.
You can read the first article of this series here.