Raag Aiman-Understanding the basics of Indian Music Theory

Raag Aiman-Understanding the basics of Indian Music Theory:

raag-aiman-indian-music-theory

Aiman is the first Raag of Kalyan Thaat. Its time to sing is evening, which means it leaves its maximum effect when sung in the evening.

Some Pandits (Hindu Priests) say this raags’ origin is Persia (Iran). It came into sub-continent of India from Iran.

It is worth for Alaap (as we described earlier sing meaningless words or to be humming). All seven notes are used in this Raag, so no problem is encountered while singing this raag. Its composition in faster rhythms makes the listeners enjoy its soft effect. Its specific Taan is (Ma-Re-Ga-Re-Sa). By now you have known these notes Ma (F) – Re (D) – Ga (E) – Re (D) – Sa (G).

This Taan will not be played in any other raag.

The raags that evolve from this Thaat are of three kinds. In first kind the Madham (F) not is not used, in second kind only one F note (white) is used whereas in third kind both F notes i.e. Major and (F sharp note) are used. In the 3rd kind the listeners feel as it has the shade of Bilawal, but this part remains mostly hidden.

In Kalyan Thaat the raags that are sung in the evening or early part of night have stress on Poorwang (First four notes) whereas in the later part of the night the stress is on the “Utarwang” or the second part of the octave i.e. Pa-Dha-Nee Gr G-A-B notes.

It is a simple method that the notes of Gandhar (E note) and —- (B note) become Komal (Black) at midnight, gradually these black notes vanish as the morning (dawn approaches). At dawn the note of F or Madham also become weaker or used less.

For the International students, I have mentioned below a simple melody of Raag Aiman, which they can play and learn for their knowledge. I have used Indian names of notes, which of course the students must have learnt by now:-

Sa-Re-Sa, Sa-Re-Ga, Re-ga, Nee-Re-ga, Re-sa