R m P N, N, S”, N S” D, D, P, S” N D P m P, N, N S” Dhaivat receives Kalyan-like treatment (another point of departure from Shuddha Sarang which, as a Sarang-anga raga, keeps a weak D). Teevra madhyam is elongated (deergha bahutva), gandhar is skipped in arohatmak sangatis (langhan alpatva) going from R to m. R m, m P, D P, D m P, G M P, G M R, R N’ S The concluding G-laden cluster lent by Kamod smothers any Shuddha Sarang aspirations: This is accomplished by spiriting away the sangatis in the direction of teevra madhyam. Whereas in Shyam Kalyan an arohi approach to R must formulated so as to not precipitate the Sarang-anga. The Sarang-anga demands a straight arohi approach and nyasa on R. The opening sangati is shared by Raga Shuddha Sarang but the agency of intonation and punctuation keeps the two ragas apart. Much may be gleaned from the above phrase. S, R N’ S (M)R, R m, m P, P G M R, M R N’, R S The definitive tonal activity in Shyam Kalyan is summarized below (Reminder: m =teevra madhyam): It goes without saying that a certain musical maturity is required to abstract away the central themes. Although one observes idiosyncratic touches across various stylistic schools, chiefly in the poorvanga, the core of the raga is almost universally acknowledged. Although this phrase also occurs in rag Kamod, dominance of sharp Ma and Ni in Shyam kalyan gives it a distinct character.Ī 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. The concluding phrase – G m R S helps to maintain the impression of Shyam kalyan. Rag Shuddh sarang and Shyam kalyan have some similarity although the former doesn’t include Ga. Re is emphasised, and Pa is a resting note.
In fact, Ni could be the leading note for the ascent. Sharp Ma and Ni are important notes in this rag. The use of natural Ma is restricted to phrases such as G m \R S and m \R.
The ascent is pentatonic where Ga and Dha are avoided. Shyam kalyan is a popular rag of the Kalyan family.
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