Yamunākalyāṇī
Janya of Mecakalyāṇī (65) — audava-sampūrṇa
Light, evening
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Ārōhaṇa (ascending)
- S
- R₂
- G₃
- M₂
- P
- D₂
Avarōhaṇa (descending)
- N₃
- D₂
- P
- M₂
- G₃
- R₂
- S
Signature phrase
S R₂ G₃ M₂ P D₂ N₃ Ṡ
The pakad (catch-phrase) is the 4-8 svara motif that defines this raga's identity. Internalise this phrase first — it's what your ear reaches for when the raga returns to its home base.
Rāga grammar
- Vādi (king svara)
- P
- Samvādi (queen svara)
- S
- Jīva (life-giving)
- R₂ M₂ N₃
- Nyāsa (resting)
- S G₃ P
- Graha (phrase-starting)
- S R₂ G₃
Listen to Yamunākalyāṇī
Arōhaṇa-avarōhaṇa exposition with tampura drone.
Kṛtis in this rāga· 4 entries across 3 composers
Muttuswāmi DīkṣitarCarnatic Trinity (Tri-mūrti) — the foundational period · 2 kṛtis
- Jambūpatē · Rūpaka Tāla · 56 BPM
- Dvārapālaya Māṃ Pāhi · Rūpaka Tāla · 88 BPM
Svāti TirunāḷPost-Trinity — Royal composer of Travancore · 1 kṛti
- Bhāvayāmi Gopālabālam · Ādi Tāla · 96 BPM
Oottukkādu Vēṅkaṭa KaviPre-Trinity — Dance composition master · 1 kṛti
- Paḷḷāṇḍu · Ādi Tāla · 110 BPM
Tip: open the raga × composer cross-search on /composers to explore any other raga.
Sangeet Parijat — Ahobala's notes
- Graha (opening)
- Sa
- Aṁśa (king svara)
- Ga
- Nyāsa (rest svara)
- Sa
- Time
- After 3rd prahara
- Gīti
- Bhinnā
- Gamaka
- kampita
Hindustani-influenced janya of Mecakalyāṇī (#65). Audava-sampūrṇa: drops Ni in ascent, full descent. Parijat-era crossover form; Ga amsha as in Yaman.
Similar ragas
Top 5 by mūrchhanā + aṁśa + nyāsa + graha + gītī overlap. Match score shown.
- BehagG SaA GaN SaBhinnā100%
- lathangiG SaA GaN SaBhinnā100%
- macekalamG SaA GaN SaBhinnā100%
- misra kalyaniG SaA GaN SaBhinnā100%
- NāmanārāyaṇīG SaA GaN SaBhinnā100%