Raag Aiman
Pancham Raag
Raag

Raag Aiman

Kalyan Thaat18:00-20:59Restful

What is Raag Aiman?

Raag Aiman is a melodic framework (raag) in South Asian classical music. It belongs to the Kalyan thaat. Traditionally performed during the 18:00-20:59. It evokes a restful mood. The vadi (dominant note) is Pancham and the samvadi is Kharaj. Stream 12 renditions of Raag Aiman on Saarey Music.

Pandits say that Hazrat Amir Khusro brought this raag from Iran and called it Yaman but many claim it to be invented in the Pakistan-Indo subcontinent. Others say that Hazrat Amir Khuso brough Raag Yaman from Iran but made critical changes so its orginal shape was completely changed and it became what we now know as Raag Aiman.

How to recognize Raag Aiman

  1. Identify the parent scale. Raag Aiman belongs to the Kalyan thaat — listening for the characteristic note pattern narrows the field.
  2. Listen for the vadi. The dominant note is Pancham, with the samvadi Kharaj supporting it. Emphasized in phrases and pauses, especially in the alap.
  3. Note the time of performance. Raag Aiman is traditionally performed during the 18:00-20:59.
  4. Feel the mood. Raag Aiman evokes a restful rasa — one of the clearest cues.

Renditions in Raag Aiman

Raag Aiman by Ustad Ashraf Sharif Khan

Raag Aiman·

Ustad Ashraf Sharif Khan

00:57:42
Khayal
Raag Aiman by Akbar Ali Khan

Raag Aiman·

Akbar Ali Khan

00:32:44
Khayal
Raag Aiman by Akmal Qadri

Raag Aiman·

Akmal Qadri

00:22:57
Khayal
Raag Aiman (1961) by Ustad Amanat Ali Khan & Ustad Fateh Ali Khan (Patiala)

Raag Aiman (1961)·

Ustad Amanat Ali Khan & Ustad Fateh Ali Khan (Patiala)

00:27:59
Khayal
Raag Aiman by Sain Ditta Qadri

Raag Aiman·

Sain Ditta Qadri

00:11:42
Khayal
Raag Aiman by Ghazala Irfan

Raag Aiman·

Ghazala Irfan

00:07:24
Khayal
Raag Aiman by Shahid Ali

Raag Aiman·

Shahid Ali

00:29:00
Khayal
Raag Aiman Kalyan by Ustad Ghulam Khusro Khan

Raag Aiman Kalyan·

Ustad Ghulam Khusro Khan

00:19:34
Khayal
Raag Aiman (2001) by Akmal Qadri

Raag Aiman (2001)·

Akmal Qadri

00:24:05
Khayal
Raag Aiman (2005) by Akmal Qadri

Raag Aiman (2005)·

Akmal Qadri

00:27:44
Khayal
Raag Aiman by Muslim Shaggan

Raag Aiman·

Muslim Shaggan

00:40:09
Khayal
Raag Aiman by Javed Krishan Lal

Raag Aiman·

Javed Krishan Lal

00:06:11
Folk

Frequently Asked Questions

Raag Aiman is a melodic framework in South Asian classical music belonging to the Kalyan thaat, traditionally performed during 18:00-20:59. It evokes a restful mood. Pandits say that Hazrat Amir Khusro brought this raag from Iran and called it Yaman but many claim it to be invented in the Pakistan-Indo subcontinent. Others say that Hazrat Amir Khuso brough Raag Yaman from Iran but made critical changes so its orginal shape was completely changed and it became what we now know as Raag Aiman.
Raag Aiman is traditionally performed during 18:00-20:59. In South Asian classical music, each raag is associated with a specific time of day or night, believed to enhance its emotional impact and resonate with the natural rhythms of that period.
For the most authentic experience, listen to Raag Aiman during 18:00-20:59. South Asian classical music theory holds that each raag resonates most powerfully at its designated time, aligning with the listener's emotional and physiological state during that period. However, great performances of Raag Aiman can be appreciated at any time.
Raag Aiman evokes a restful mood. In South Asian classical music, each raag is associated with a specific emotional quality (rasa) that the performer seeks to communicate through melodic phrases and ornamentations. The restful character of Raag Aiman is expressed through its particular combination of notes, emphasis patterns, and characteristic phrases (pakad).
Raag Aiman belongs to the Kalyan thaat. A thaat is a parent scale in South Asian classical music from which raags are derived. The Kalyan thaat provides the foundational note set that Aiman elaborates upon with its specific ascending and descending patterns.
The vadi (most important note) of Raag Aiman is Pancham and the samvadi (second most important note) is Kharaj. The vadi and samvadi are the two dominant notes around which the raag's melodic phrases revolve, giving it its distinctive character.