Delving Into Kalyani Raagam

Let’s dive into auspiciousness – the world of Kalyani. Delve into the sweet melody of Kalyani Raagam, the queen of ragas as some might say. Otherwise referred to as Yamen Kalyan in Hindustani classical form of music, it is one of the first few ragas that the students get introduced to in this system.

Swarastanam – The Melodic Scale of Kalyani Raagam

Let’s look into the arohana and avarohana (ascending and descending notes) of the 5th scale from the 11th Chakra, Rudra. It takes the 65th position in the 72-scale melakarta system.

Arohanam S R₂ G₃ M₂ P D₂ N₃ Ṡ
Avarohanam Ṡ N₃ D₂ P M₂ G₃ R₂ S

(shadjam, chatushūruti rishabam, antara gandharam, prati madhyamam, chatushruti dhaivatam, kakali nishadam)

Western Equivielent Notes

C D E F♯ G A B C
C B A G F♯ E D C

With all the seven swaras in its sleeve, this scale is thus an all-encompassing Sampoorna scale, having a scope to elaborate aalapanas with ease. According to Subbarama Dikshitar, the life of Kalyani Raagam lies in the swaras, Ri and Ga. However, many agree with the note Ni as well, rendering a different dimension to the entirety of Kalyani.

Janya – The Daughters of Kalyani Raagam

Being a 7-note raga, Kalyani Raagam is the mother of the ragas Hamir Kalyani, Mohanakalyani, Amritha Kalyani, Saranga, Nada Kalyani, Sunadavinodini and Yamunakalyani that are popular in concerts.

The performer also should to be aware of the graha bedham where a note when shifted, i.e., when chatushūruti rishabam is taken as the first note, Sa, it becomes a different raga. Kalyani’s notes when shifted using Graha bhedam making it a Murchanakaraka ragam. The swaras ri, ga, pa, da, and ni when set as Sa become the following ragas by graha bedam:

ri to harikambhoji,
ga to natabhairavi
Pa to shankarabharanam
da to kharaharapriya
ni to todi

Take out your virtual piano on your phone and check it if you don’t believe me.

Characteristics of Kalyani Raagam

Kalyani Raagam is a light-hearted yet emotional scale. When sung with Bhavam (emotion), this scale connects and communicates with the listener and performer in an ethereal sense. One of the important facets of Kalyani is in the Prati Madhyamam similar to Shankarabharanam which are close to each other. It has eloquent high notes that are pleasing to the ear.

Omitting Shadjama and Panchama will add a unique flavour to the scale. Janta swaras like pairing a note with the same note, like ss, rr, and so on, are heard in concerts where the performer is weaving the phrases as he or she is singing, called manodharmam in Carnatic music. Performers deliberately skip notes like singing NGR-NDN or g n d – m g r that brings out the flavour of the scale. However, people dont hover around Panchamam (pa) for long when they do aalaps. Ghandaram or Rishabam is a better place for your landing notes.

A Kalyani Emotion

Some ragas might seem light in the beginning but will dig deep into your consciousness. One such scale would be Kalyani. The Raagam can dispel the fear of darkness that replaces the listener with Veera (courage) and a maternal instinct to protect oneself and loved ones.

The raagam can release the happy drug, dopamine, in your brain that is responsible for relaxing you and keeping you in a happy state of mind. In music therapy, certain scientific publications prove the healing benefits of this beautiful scale feeding anxiety patients with confidence and serenity. Some texts say it can put you through a peaceful sleep.

Famous compositions – Carnatic

The reason behind the wedding season filled with this melodic scale is not surprising because of its sacred nature. Many composers have explored the nooks and crannies of this versatile scale in a myriad of forms including the Holy Trinity of Carnatic music: Saint Tyagaraja, Muthuswami Dikshitar, and Syama Sastri. There are many and I’m listing the famous few, here:

1. Saint Tyagaraja – Sundari nī Divya, Nammi Vacchina, and Nidhi chāla sukhamā
2. Muthuswami Dikshitar – Kamalāmbāṃ bhajarē ,Bhajarē Re Chittha, Shiva Kameshwarim Chintayeham
3. Subbarama Dikshitar – Kantimati Karunamrta
4. Purandara Dasa – kallu sakkare koLLiro (3rd Navaratna Malike), Nambi Kettavarillavo Rangayya, Anjikinyatakayya
5. Papanasam Sivan – Unnai allal
6. Koteeswara Iyer – Sadanandame
7. M Balamurali Krishna – Tanom nom tara tillana

And the list goes on…

Lakshman Ragde, a man whose life’s mission is to research the Carnatic music field in detail to share it with music buffs all over the world estimated that at least 700 compositions (including various musical forms) are set to the raga Kalyani.

Famous Compositions – Film Music

Where do I even start with the number of compositions done on the scale? There are hundreds of songs that composers have toyed with, right from the elusive Mannavan Vandhan Adi, a classical track from Thiruvarutchelvar sung by P.Susheela to the divine Janani Janani from Thai Mookambikaiye sung by maestro Illaiyaraja. Interestingly, this song was given to K.J. Yesudas but decided to sing it by himself due to time constraints having shades of Bhaja Govindham as inspiration.

Some of the most celebrated composers of all time who dived into the depths of Kalyani are as follows:

Sindhanai Sei Maname by G. Ramanadhan. M. S. Viswanathan
Amma Endrazhaikkaatha Uyirillaye” by Ilayaraja
Kalaivaniye in Sindhu Bhairavi – This song was composed as a challenge to make a song in ascending order notes showcasing the protagonist overcoming an emotional ordeal in his personal life while performing this song on stage in the movie

1. Visuwanathan Ramamoorthy – Athikkai Kai Kai (Movie: Bale Pandiya)
2. AR Rahman – Azhagu Nilave (Movie: Pavithra), Yaarumilla Thaniarangil (Movie: Kaaviyathalaivan)
3. Ilaiyaraaja- Amma Endruzhakatha (Movie: Mannan), Kaatril Varum Geethame (Movie: Oru Naal Oru Kanavu)
4. Deva – Gokulathu kanna (Movie: Gokulathil Seethai)
5. Vidya sagar – Katrin Mozhi (Movie: Mozhi), Pudhu Malar Thottu (Movie: Poovellam Un Vasam)
6. Yuvan Shankar Raja – Pogadhey Pogadhey (Movie: Deepavali)
7. Ghibran – Chillendra Chillendra (Mvie: Thirumanam Enum Nikkah)

Kalyani’s Global Affair

In the above list, I have covered Tamil film songs and Carnatic kritis. Mollywood, Tollywood and Bollywood have equally explored this scale. A famous song that comes to mind is the melodious Jab Deep Jale Aana by Hemlata and K. J. Yesudas.

The scale resembles the Lydian Scale in Western music. In Tamil, it is Arum Palai. It is also noticeable in the music of Africa (Known as Gu), Hungary, Persia, Turkish, Arabic maqams and Jazz showcasing its versatility on a global pedestal.

Kalyani and Shankarabharanam – are they lovers?

To answer your question, Yes, they are. They are differentiated with the Madhyama (Ma) note. The former holds Prathi Madhyama (referred to as Tivra Madhyama in Hindustani music) and the latter, Shuddh Madhyama. In the Carnatic school of thought, they are referred to as Shiva and Shakthi which is depicted by their meanings, Shiva’s adornment and one of Shakthi’s million names, Kalyani. These two scales compliment each other just like the deities.

Final Thoughts

This is by far one of the most cherished scales of Carnatic music with an expanding scope of the sky’s limit. The lakshana or the structure of the raga is easily grasped by its students and it takes a lot to get your Prati Madhyamam right as the Shankrabharanam is just a semitone away.

Keep practising and listening to the soothing melodies of Kalyani that tend to heal your mind, body and soul.

FAQs

Related blog: Evvari Bodhana – Abhogi Ragam