Raga Yaman Release Group

Raga Yaman

First released 1972 Sitar
Vilayat Khan was an Indian classical sitar player.
Vilayat Khan
1 Release 3 tracks
Vilayat Khan released Raga Yaman in 1972. The album features a three-part Hindustani classical performance of Raga Yaman on sitar. Khan demonstrates slow, medium, and fast tempos in a traditional stru

About Raga Yaman

Raga Yaman is a 1972 Indian classical music release by sitar virtuoso Vilayat Khan. The album presents a full-length performance of Raga Yaman, a prominent raga in Hindustani classical music. The recording captures Khan’s interpretation across three distinct sections, each demonstrating a different tempo and stylistic progression.

Vilayat Khan performs the raga in three parts. Part 1, titled "Raga: Yaman - Part 1 (Gat - Vilambita Laya - Tin Tala Barhat Anga)," features a slow tempo (vilambit laya) in teentaal (16-beat cycle). The composition follows the gat form, emphasizing gradual development and improvisation. Part 2, "Raga: Yaman - Part 2 (Madhya Laya)," shifts to a medium tempo (madhya laya), expanding on the raga’s melodic framework. Part 3, "Raga: Yaman - Part 3 (Druta Laya)," concludes the performance with a fast tempo (drut laya), showcasing technical virtuosity and rhythmic complexity.

The release consists of three tracks, each corresponding to one section of the raga’s progression. The recording adheres to traditional Hindustani performance structure, beginning with alap (unmetered exploration), followed by the gat (composed section with rhythmic accompaniment), and culminating in jhala (fast-paced concluding movement). The album does not specify a record label. The exact instrumentation beyond Khan’s sitar is not detailed in available sources.

Raga Yaman, also known as Kalyan, is a late evening raga characterized by its use of all seven natural notes (shuddha swaras) in the ascent (aroha) and a specific descent (avaroha) pattern. The raga’s emotional tone is often described as serene and devotional. Vilayat Khan’s rendition exemplifies the Imdadkhani gharana’s stylistic approach, emphasizing melodic ornamentation (meend) and intricate rhythmic interplay.