Shyam kalyan is a popular rag of the Kalyan family.

Thaat : Kalyan

Time: Early evening

Vadi/Samvadi : R, P

Jati : Audav-Sampurna Vakra

Mood : Bhakti (Devotion), Shant (Serene, Peaceful), Shringar (Romantic)

Tone material: S R G m M P D N

The ascent is pentatonic where Ga and Dha are avoided. The use of natural Ma is restricted to phrases such as G m \R S and m \R. Sharp Ma and Ni are important notes in this rag. In fact, Ni could be the leading note for the ascent. Re is emphasised, and Pa is a resting note.

Some characteristic phrases:

M P G m \R

G m P G m \R

Rag Shuddh sarang and Shyam kalyan have some similarity; although the former doesn’t  include Ga. The concluding phrase – G m R S helps to maintain the impression of Shyam kalyan. Although this phrase also occurs in rag Kamod, dominance of sharp Ma and Ni in Shyam kalyan gives it a distinct character.

A chalan bheda within the Kalyan framework and an overlay of the Kamod signature G M P G M R S are the chief features of Raga Shyam Kalyan. Although one observes idiosyncratic touches across various stylistic schools, chiefly in the poorvanga, the core of the raga is almost universally acknowledged. It goes without saying that a certain musical maturity is required to abstract away the central themes.

The definitive tonal activity in Shyam Kalyan is summarized below (Reminder: m =teevra madhyam):

S, R N’ S (M)R, R m, m P, P G M R, M R N’, R S

Much may be gleaned from the above phrase. The opening sangati is shared by Raga Shuddha Sarang but the agency of intonation and punctuation keeps the two ragas apart. The Sarang-anga demands a straight arohi approach and nyasa on R. Whereas in Shyam Kalyan an arohi approach to R must formulated so as to not precipitate the Sarang-anga. This is accomplished by spiriting away the sangatis in the direction of teevra madhyam. The avarohi nyasa on R is necessary. The concluding G-laden cluster lent by Kamod smothers any Shuddha Sarang aspirations:

P G M R, S or G M P G M R, S.

R m, m P, D P, D m P, G M P, G M R, R N’ S

Teevra madhyam is elongated (deergha bahutva), gandhar is skipped in arohatmak sangatis (langhan alpatva) going from R to m. Dhaivat receives Kalyan-like treatment (another point of departure from Shuddha Sarang which, as a Sarang-anga raga, keeps a weak D).

R m P N, N, S”, N S” D, D, P, S” N D P m P, N, N S”

The elongation of N in arohi and of D in avarohi passages are points of interest. In avarohi prayogas, N may be skipped as indicated above.

With this preamble, we have in place all the necessary procedures to venture into the theatre of performance.

Shyam Kalyan was the first to come under Jha-sahab’s critical gaze (vide Volume 1 of Abhinava Geetanjali). An entire audio library of his penetrating commentaries has now grown in our  archive, documents of inestimable value to the serious student of Indian music.

Ramrang holds forth on Shyam Kalyan.

We warm up to a cheez from Khandwa’s Pt. Kishore Kumar. Keep your ears peeled for Panditji’s subtle caress of komal nishad in the antara (the Khandwa school specializes in vivadis, among other things). The film is DARD KA RISHTA (1983) and the composer, R.D. Burman: yoon neend se.

Ramdas Kamat‘s modern rendition of the Marathi natyageeta from the 1916 drama, SAUNSHAY KALLOL: svakara shapatha vachani.

In the first offering from Jha-sahab’s felicitous suite, the raga-charitra emerges beautifully in the astha’i itself: aise subana ke.

Ramrang‘s druta bandish in Ektala has made its way into the repertoire of several vocalists (Satyasheel Deshpande briefly provides vocal support in the antara): bela sanjha ki.

Some 30-35 years ago, a disciple of Omkarnath Thakur called on Ramrang and sang his guru’s beautiful Shyam Kalyan composition. A couple of days later he dropped by again and was astonished to find that Jha-sahab had not only remembered Omkarnath’s bandish but had produced a near-identical match by sewing new words onto the melody. Jha-sahab recounts the episode.

Jitendra Abhisheki‘s concert at the 1985 Kesarbai Kerkar Samaroh in Panjim, Goa, is framed in the next two clips; both are Jha-sahab’s compositions. The vilambit, hamare piyare maa’i.

We heard bela sanjha ki earlier in Ramrang’s own voice. Jitendra-bab also makes good on it.

The Agra contingent is out in full strength. A careful listening will reveal some of the special Agra touches, especially in the poorvanga.

Khadim Hussain Khan prefaces his khayal with a nomtom alap.

Vilayat Hussain Khan (“Pranpiya”) on an old 78 rpm.

Pranpiya’s son Younus Hussain Khan.

A mehfil of Basavraj Rajguru.

Tarana by Raja Kale.

No Shyam Kalyan catalogue can be complete without Bismillah Khan’s old recording.

Bade Ghulam Ali Khan‘s treatment stands apart from the rest of the pack for its maverick turn of phrase, a brazen G m P sangati. The rasika is urged to find it in his heart to forgive the great man for this venial sin.

http://www.tanarang.com/hindi/shyam-kalyan_hindi.htm

https://onlinesangeet.com/description-of-raag-shyam-kalyan-in-english/

Raga Maru Bihag is one of the modern raga in the Hindustani Classical Music. It developed from raga Bihag. Maru Bihag is often referred as a variant of raga Bihag which uses only the Teevra Madhyam rather than using both the Madhyams i.e. Shuddha & Teevra in raga Bihag. But one of the phrase may contain Shuddha Madhyam, Sa Ma (Shuddha) Ga Ma (Teevra) Ga Re Sa. This is a very rare case (and it is allowed as well). The usage of Shuddha Ma completely depends on the creativity of the artist.

• 1Contents
• 2Aaroha & Avaroha
• 3Vadi-Samvadi
• 4Structure
• 5Nyaas Swars
• 6Aalap
• 7Purvaang Pradhan
• 8Samay
• 9Raga's fame
• 10Difference to Raag Bihag
• 11Bollywood
• 12References

Raga Maru Bihag is a simple raga. It is a straight/Saral. In Aaroha, the Rishabh and Dhaivat are Varjya (omitted). In avaroha, all the swars are taken. So the Jati of the raga is Audav-Sampurna.

Aaroha : Ni (mandra) Sa Ga Ma (teevra) Pa Ni Sa (taar)

Avaroha : Sa (taar) Ni Dha Pa Ma (teevra) Ga Re Sa

Vadi swara - Ga

Samavadi - Ni

Time - The second Prahar of the night, (9 pm - 12 am).

Thaat - Kalyan Thaat

The Ras of Maru Bihag is Shringar ras. It gives us the feeling of joy, fulfilment, love, Harmony, positivity, enhancement during performance.

Most of the Phrases of Maru Bihag revolve around Panchama (Pa) & Shadja (Sa). Main nyaas is found on Panchama which plays pivotal role in establishing the raga in Purvang and preparing it's base for Uttarang. Hence, Vadi swara of raga Maru bihag is Panchama and Samavadi swara is Shadja (from taar saptak). The Shadja-Madhyam Bhaav is seen in the Vadi-Samvadi swars.

Maru Bihag is regarded variant of raga Bihag which uses Teevra Madhyam instead of Both. In Maru Bihag, Teevra Madhyam is Extensively used. Hence, the Thaat of the raga is considered as Kalyan instead of Bilaval. In Maru Bihag, the kalyan Anga is more prominent; unlike Bihag which shows Bilaval Anga.

for example : Ma (teevra) Ga Ma (teevra) Ga Re Sa

Also, this is a Ragavachak Phrase or the Pakad of raga Maru Bihag. In Aaroha, Rishabh and Dhaivat are Varjya. In Avaroha, all the seven swars are taken. Hence, the Jati of the raga becomes Audav-Sampurna. Also, sometimes Shuddha Madhyam is used as a Vivadi Swara and is rarely used at the ending phrases, especially during boltaans. The Shuddha madhyam shows a slight presence of raga Bihag.

Unlike Bihag, Maru Bihag has nyaas on every swar, which makes it quite large, expandable. Most of the vocalists tend to select this Raaga for night concerts as it has more capacity to expand due to many nyaas swars. Along with Pancham-Shadja (vaadi-samvaadi), presence of nyaas is very important in Maru bihag. It is one of the characteristics of Maru Bihag. Also, presence of nyaas is also found in small proportion on Rishabh-Dhaivat.

Gandhar (Ga) is always taken with the Kana of Teevra Madhyam in Maru Bihag.

for Example : Ni (mandra) Sa (Ma (teevra)) Ga

The Vadi swar of the raga is Panchama and most of the phrases revolve around it. some of the phrases are : Ni (mandra) Sa Ga Ma (teevra) Pa Ga Ma (teevra) Ga Pa Ga Ma (teevra) Ga Pa Ni Dha Pa Dha Ma (teevra) Pa Ga Ma (teevra) Ga

In Maru Bihag, the Rishabh is always sunged/played with the Kana of Shadja. for example : Ma (teevra) Ga (Sa) Re Sa.

The Vaadi swar of raga Maru Bihag is in Purvang (first half of the octave). As per the rules, the raga is said to be "Purvang Pradhan", if the Vadi swara is in the Purvang (Sa, Re, Ga, Ma, Pa). The raga is said to be "Uttrang Pradhan", if the Vadi swara is in the Uttarang (Ma, Pa, Dha, Ni, Sa (taar saptak)). Hence, raag Bihag is "Puravang Pradhan" raga. Hence, Bihag seems to Blossom more in the Mandra & Madhya Saptak (lower and middle octave).

Maru Bihag is played in the second quarter of night. According to the experts , Maru Bihag is a Purvang Pradhan raga. "All the Purvang Pradhan raga are Purva raga" Hence, Maru Bihag is a Purva raag. All the Purva raags are sung/played between 12 P.M.- 12 A.M. Raga Maru Bihag is sunged/played between 9 P.M. & 12 A.M. i.e. second part of night.

The raga gained it's fame with the increasing popularity of the recordings of classical singer Dr. Prabha Atre of raga Maru Bihag. Thereafter, the Classical singers Dr. Prabha Atre, Dr. Vasantrao Deshpande, Pandit Bhimsen Joshi and many others have widely spread it through their performances & in short period of time, Maru Bihag became very & popular in the audiences & singers. The Sargams used by Dr. Prabha Atre during her concerts along with Aalap, Taans and Boltaans also had a significant impact on listeners & the raga made it's place in the music listener's heart.

Maru Bihag has two base ragas:

Raga Bihag on the way up: Aaroh (ascending): Bilawal Ang

Raga Yaman (Kalyan) on the way down (descending): Kalyan Ang

Difference are in Vadi and Samvadi, also chalan.

Bihag- S, G, M, P, N, S' - S', N D, P, M, G, M, G, R, S. Vadi- Pancham; Samvadi- Shadjamam.

Marubihag - S, G, m, P, N, S' - S' N, D, P, M, P, G, M, G, R, S. Vadi - Gandhar; Samvadi - Nishad.

The sharp Ma, which is dominant in this rag, is emphasised in ascent as well as in descent. On the other hand, the natural Ma is used sparingly in the ascending manner, only as in S /m G. Ga and Ni are important notes while Pa is a resting note. Sometimes compositions may not include this note, in which musicians do use the note in elaborations. During the faster movements however, the sharp Ma receives a clear preference, with a rare sprinkling of natural Ma.

Maru bihag can show shades of rag-s like Bihag and Nand. Unlike in Bihag, Re is emphasised in Maru bihag. Also, the sharp Ma is emphasised in Maru bihag and phrases like G M GR-S and M G M G R S help keep it distinct from other rag-s.

Many music composers from Bollywood have made several romantic songs based on this raga in a new way; for those lay people, who did not know anything about this raga. These Bollywood songs have brought the feel of Raga Maru Bihag to the ordinary listeners, because this raga is more playful and feminine, as it suits the female voice as it is full of eroticism.

Dil jo na keh saka… Bheegee Raat (1965)

Matwali naar thumak thumak… Ek Phool Chaar Kante (1960)

Payalwali dekhna… Ek Raaz (1963)

Radha jaye na… Mehbooba (1976)

Tum toh pyar ho Sajna… (Based on Khayal Rasiya ho na…) Sehraa (1963)

Lat uljhi suljha ja Balam… Pooja (1940)

Ab aage teri marzi… Devdas (1955)

Oo Raamji bada dukh deena… Ram Lakhan (1989). This song is not fully based on Raga Maru Bihag, but one can easily hear the prominent phrases of the raga in this song.