Mythically, Miyan Tansen invented this raga only to establish his supremacy as a musician in the royal court of Emperor Akbar (16th century). The prefix ‘shuddh’ (pure), therefore, does not mean that this is an older or original version of Kalyaan.
Thhaat (parent scale)
Kalyan
Jaati:
Audav Sampoorna (five notes in ascent, seven notes in descent)
Vaadi:
Gandhaar (G)
Samvaadi:
Dhaivat (D)
Swaras:
Omits Madhyam (M) and Nishaad (N)in the ascending order, employs Teevra Madhyam (m) in the descent, rest shuddh swaras.
Aaroh (ascent):
S R G P D S’ (Western Notes: C D E G A C)
Avaroh (descent)
S’ N D P m G R S (Western Notes: C B A G F# E D C)
Key phrases:
S-N.-D., S, G R S, S R G P, P-m-G, G P D P, G R S, S R G P-m-G, S’-N-D, G P D P, G R S-N.-D, S
Time:
Evening/Night (after Sunset)
Although a look alike of Bhoopaali and Deshkaar, the gliding (meend-laden) movement of this raga makes it very heavy and distinctly different. These meends, very aesthetically, take the Teevra Madhyam (m) and Shuddh Nishaad (N) in their folds. Both the notes remain present but in a veiled manner. This understated beauty, that too in the lower registers and in the Poorvaang (lower tetrachord) needs masterful execution. The raga emanates peace and devotion.
Bibliography
1. Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
2. The Oxford Encyclopaedia of the Music of India
3. Ustad Amir Khan, Pioneer of Indore Gharana by Pandit Tejpal Singh
4. The Raga-ness of the Ragas by Deepak Raja
Links
1. Ustad Abdul Karim Khan (vocal)
2. Pandit Radhika Mohan Maitra
3. Ustad Amir Khan (vocal)
4. Ustad Ali Akbar Khan (sarod)
5. Pandit Bhimsen Joshi (vocal)
Raag Shuddha Kalyan presented by Pandit Ulhas Kashalkar at Allarakha Jayanti Samaroh at Pune, with Taalyogi Pandit Suresh Talwalkar (tabla) and Shri Shriram Hasabnis (harmonium).
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