# Raga Yaman In Bansuri Flute

Raga Yaman continues to be the starting point of every music student’s entry into the world of Hindustani Classical Bansuri and also remains the focal point of their training throughout their musical career. But, it is also a raga to which each sincere musician returns to, no matter how experienced, because it truly is a king of ragas.

Thaat: Kalyan Thaat, Time: 7pm to 10pm

Aroha (ascent): N R G M D N S, Avaroha (descent): S N D P M G R S

Vadi: Ga, Samavadi: Ni

Mood: Devotion

A composition in raga Yaman which is composed in Dadra taal ( 6 beats ) is given here. Composition, detailed Alaap and the Taans are given. All are accompanied with the Bansuri Flute audio.

Raga Yaman In Bansuri: Alaap

A detailed alaap is played in the beginning of the Raga improvisation. This alaap is played before the taal/rhythmic cycle begins.

We start improvising in the lower octave first and later we move higher in the octave introducing Swaras one after the other.

RAGA YAMAN IN BANSURI WESTERN CLASSICAL NOTATIONS

S | > | > | > | .N | .D | S | > | > | > | > |

.N | .D | S | .N | > | > | .N | .D | .P | > | > |

.D | .N | R | > | > | .N | .D | S | > | > | > |

** **

S | .N | .D | .N | R | > | > | > | > | ||

.N | .D | .N | G | R | > | > | > | |||

M | G | R | > | > | .N | .D | .N | S | > | > |

** **

G | R | .N | R | G | > | > | > | |||

M | G | R | > | > | > | |||||

N | R | G | G | M | > | > | P | M | G | > |

R | GM | P | > | M | GR | S | > | > | > |

** **

.N | R | G | > | R | G | M | > | G | M | P |

N | > | D | P | > | M | GR | > | > | > | |

G | R | .N | .D | S | > | > | > | > | > | > |

## Raga Yaman In Bansuri: Composition – Bandish

A composition or ‘Bandish’ in a raga is composed in taal/rhythmic cycle. A composition consists of two parts 1.Sthayi and 2.Anthara

Sthayi usually contains a primary part and a secondary part. Similarly Anthara also contains a primary part and a secondary part. Sthayi is played when we do improvisation in lower and middle octave. Anthara is played when we do improvisation in middle and higher octave. This Yaman composition for bansuri flute is composed in Dadra taal (6 beat rhythmic cycle). In the following style this composition is played..

Primary part of the Sthayi twice – Secondary part of the Sthayi once – Primary part of the Sthayi once.

Primary part of the Anthara twice – Secondary part of the Anthara once – Primary part of the Sthayi once.

Dha | Dhin | Na | Dha | Thin | Na | Dha | Dhin | Na | Dha | Thin | Na |

1 | 2 | 3 | 4 | 5 | 6 | 1 | 2 | 3 | 4 | 5 | 6 |

Yaman Bansuri composition: Primary Part of the Sthayi

S | .N | .D | N | R | R | G | > | > | R | .N | R |

M | > | > | G | M | D | P | MG | R | S | > | > |

Secondary Part of the Sthayi

G | G | R | G | M | D | P | > | > | D | N | S’ |

N | D | P | D | P | M | P | MG | R | S | > | > |

Yaman Bansuri composition: Primary Part of the Anthara

P | P | P | G | M | P | M | D | N | S’ | > | > |

Secondary Part of the Anthara

G’ | > | > | R’S’ | ND | P | R’ | > | > | S’N | DP | M |

N | D | P | D | P | M | P | MG | R | S | > | > |

## Raga Yaman In Bansuri: Alaap In Sthayi

Alaaps are systematic improvisation of the raga. Usually we begin with lower octave notes in aalap and one after the other we introduce the new notes progressively in the octave.

Alaap in Sthayi means improvisation in lower and middle octave of the raga. We need to play the Primary part of the sthayi after each of the aalaps below.

In Indian music all the improvisations are played spontaneously. Here we have given the pre-composed improvisations in Yaman raga which are intended for the beginners and intermediate learners of Indian classical Bansuri music to understand and play improvisations in a Raga.

1 | 2 | 3 | 4 | 5 | 6 | 1 | 2 | 3 | 4 | 5 | 6 |

G | R | S | R | .N | R | G | > | > | > | > | > |

M | M | M | P | > | > | R | G | M | G | > | > |

R | G | M | P | > | > | M | G | R | S | > | > |

.D | .N | R | .N | R | G | R | G | P | M | > | > |

M | M | G | R | .N | R | G | G | R | .N | .D | .N |

.D | .N | R | P | M | G | R | > | S | > | > | > |

.N | .D | .N | G | R | G | R | .N | R | M | G | M |

.N | R | G | R | G | M | P | > | > | > | > | > |

G | M | D | P | > | > | R | G | P | M | > | > |

.N | R | M | G | > | > | P | MG | R | S | > | > |

M | G | R | S | .N | .D | .NR | GM | P | > | > | > |

R | G | R | S | .N | .D | .NR | GM | P | > | > | > |

S’ | N | D | ND | PM | GM | N | D | P | DP | MG | RG |

D | P | M | PM | GR | SR | P | M | G | MG | RS | .NS |

## Raga Yaman In Bansuri: Alaap In Sthayi II

Alaaps are systematic improvisation of the raga. Usually we begin with lower octave notes in aalap and one after the other we introduce the new notes progressively in the octave.

Alaap in Sthayi means improvisation in lower and middle octave of the raga. We need to play the Primary part of the sthayi after each of the aalaps below.

In Indian music all the improvisations are played spontaneously. Here we have given the pre-composed improvisations in Yaman raga which are intended for the beginners and intermediate learners of Indian classical Bansuri music to understand and play improvisations in a Raga.

1 | 2 | 3 | 4 | 5 | 6 | 1 | 2 | 3 | 4 | 5 | 6 |

.N | R | G | MG | RS | .N.D | .N | R | GM | P | > | > |

R | G | M | PM | GR | SR | R | G | MD | P | > | > |

P | P | P | M | G | M | N | D | P | MG | RS | .NS |

R | G | M | P | M | P | G | M | N | D | > | > |

G | M | P | M | G | M | G | M | P | D | > | > |

D | P | M | GM | GM | P | P | M | G | RG | RG | M |

P | > | M | G | > | R | S | > | .N | R | > | S |

P | MG | R | G | M | P | M | D | S’ | N | > | > |

ND | PM | GR | G | M | P | G | M | D | N | > | > |

N | G’ | R’ | S’ | N | D | S’ | N | S’ | N | DP | M |

N | D | N | D | PM | G | P | M | P | M | GR | S |

## Raga Yaman In Bansuri: Alaap In Anthara

Raga Yaman is a beautiful raga and even more beautiful when played in Bansuri flute. The alaap given below is very helpful in learning Bansuri basics and to learn the art of improvisation of the ragas in bansuri flute. Alaaps are systematic improvisation of the raga.. Usually we begin with lower octave notes in aalap and one after the other we introduce the new notes progressively in the octave.

Alaap in Anthara means improvisation in middle and higher octaves of the raga. We need to play the first part of the anthara after each of the alaaps below. After completion of the all the alaaps, play the first and second part of the anthara and come back to the sthayi.

1 | 2 | 3 | 4 | 5 | 6 | 1 | 2 | 3 | 4 | 5 | 6 |

S’ | N | D | ND | PM | GM | R | GM | D | N | > | > |

N | S’ | N | DP | MG | RS | R | GM | D | N | > | > |

N | > | S’ | N | DP | M | GM | D | N | S’ | > | > |

G | > | M | D | > | N | S’ | > | > | > | > | > |

DP | M | G | M | D | N | DP | M | G | M | D | N |

S’ | > | > | N | D | N | R’ | > | > | > | > | > |

N | S’ | D | N | M | D | R’ | > | > | > | > | > |

R’ | G’ | R’ | N | D | N | D | N | R’ | S’ | > | > |

D | N | R’ | S’ | N | D | N | R’ | R’ | G’ | > | > |

M’ | G’ | R’ | S’ | N | D | M | D | N | R’ | > | > |

N | D | P | M | G | R | GM | DN | S’ | > | > | > |

## Raga Yaman In Bansuri: Taan In Sthayi

Taans are faster improvisation of the raga. Usually we begin with lower and middle octave notes in taan and one after the other we introduce the new notes progressively in the octave.

Taan in Sthayi means improvisation in lower and middle octave of the raga. We need to play the first part of the Sthayi after each of the taan below.

1 | 2 | 3 | 4 | 5 | 6 | 1 | 2 | 3 | 4 | 5 | 6 |

S.N | RS | .N.D | .N | R | G | .NG | RS | .N.D | .N | R | G |

RM | GR | S.N | .D | .N | R | .NR | S.N | .D.P | .D | .N | S |

S | S | S | .N.D | .NR | GR | S | S | S | .NR | GM | GR |

G | G | G | PM | GR | .NR | G | G | G | ND | PM | GR |

S | .N.D | .NR | G | RS | .N.D | N | DP | MG | P | MG | RS |

.NR | GM | GR | PM | GR | S.N | .D.N | R | R | G | > | > |

RG | RG | MP | .NR | .NR | GM | .D.N | .D.N | RG | P | M | G |

P | MG | RG | DP | MG | RS | M | GR | .NR | PM | GR | S.N |

.DN | R | R | .NR | G | G | RG | MD | PM | GR | S.N | S |

.D.N | .D.N | RG | .NR | .NR | GM | PM | GR | .NR | MG | RS | .NS |

.NR | .NR | GM | RG | RG | MP | DP | MG | RG | PM | GR | SS |

S.N | .D.N | RG | MG | RS | .N.D | ND | PM | GR | DP | MG | RS |

## Raga Yaman In Bansuri: Taan In Sthayi Continued

Taans are faster improvisation of the raga. Usually we begin with lower and middle octave notes in taan and one after the other we introduce the new notes progressively in the octave.

Taan in Sthayi means improvisation in lower and middle octave of the raga. We need to play the first part of the Sthayi after each of the taan below.

1 | 2 | 3 | 4 | 5 | 6 | 1 | 2 | 3 | 4 | 5 | 6 |

S | .N.D | .NR | GR | S.N | D.N | R | > | > | MG | RS | .NS |

S | .N.D | .NR | GR | S.N | .D.N | R | > | > | PM | GR | S |

PM | GR | S | .N.D | .NG | RG | ND | PM | G | RN | RM | GM |

S’N | DP | M | GM | GP | MP | DP | MG | R | S.N | RS | .NS |

PM | GR | S.N | R | GM | D | P | > | > | RG | MG | MP |

DP | MG | RS | .N | RG | MD | P | > | > | .NR | GM | P |

S’N | DP | MG | ND | PM | GR | DP | MG | RS | P | MG | RS |

SS | .N.D | .NR | MG | RS | .NS | PP | MG | RG | DP | MG | RS |

.D.N | RG | MP | NR | GM | DN | RG | MD | NS’ | ND | PM | GR |

NN | DP | MG | DD | PM | GR | PP | MG | RG | MM | GR | SS |

.NG | RS | .N.D | .NR | GM | P | RG | MD | NS’ | N | > | > |

RG | P,M | GR, | GM | D,P | MG, | MD | N,D | PM, | RG | MD | NS’ |

N | > | > | RG | M,G | MD, | MD | N,G’ | R’S’ | N | > | > |

NS’ | N | DP | DN | D | PM | RP | M | GR | MG | RS | .NS |

## Raga Yaman In Bansuri: Taan In Anthara

Taans are faster improvisation of the raga. Usually we begin with middle and higher octave notes in taan and one after the other we introduce the new notes progressively in the octave.

Taan in Anthara means improvisation in middle and higher octaves of the raga. We need to play the first part of the anthara after each of the alaaps below. After completion of the all the alaaps, play the first and second part of the anthara and come back to the sthayi.

1 | 2 | 3 | 4 | 5 | 6 | 1 | 2 | 3 | 4 | 5 | 6 |

PM | GR | MG | MG | RS | .N.D | RG | MD | N | D | > | > |

GM | DN | S’ | N | > | > | MD | NR’ | G’R’ | S’ | > | > |

NR | GM | D | RG | MD | NR’ | S’ | > | > | > | > | > |

MD | NR’ | G’R’ | S’N | DN | R’ | S’ | > | > | ND | PM | GR |

.NR | GM | DN | R’ | > | > | S’N | DN | R’G’ | R’ | > | > |

G’R’ | S’N | DP | MG | RS | .N.D | .NR | GM | DN | S’ | > | > |

PM | MG | RS | ND | DP | MG | S’N | ND | PM | RG | MD | NR’ |

S’ | > | > | NG’ | G’R’ | S’N | DN | R’G’ | R’ | R’M’ | M’G’ | R’S’ |

NR’ | G’M’ | G’ | NR’ | G’R’ | S’N | DP | MG | RG | MD | NR’ | S’ |