Yaman's Jati is a Sampurna raga (ideally, yaman is audav sampoorna raag because of the structure- N,RGmDNR'S' NDPmGRS) and in some cases Shadav; the ascending Aaroha scale and the descending style of the avroha includes all seven notes in the octave (When it is audav, the Aroha goes like N,RGmDNS', where the fifth note is omitted; Pa but the Avaroha is the same complete octave).

All the scale notes (called swaras) in the raga are Shuddha, the exception being Teevra Madhyam or prati madhyamam (sharp fourth).

The Aroha and Avaroha of Yaman Kalyan goes like this: SRGmPDNS' S'NDPm GMGRN, RS[clarification needed] Vadi is ga, Samvadi is ni.

It is wrong to say that Kalyan has no specific phrases or particular features, many musicians avoid Sa and Pa in ascend or treat them very weakly in Yaman.

People erratically believe that if natural Ma is occasionally added in a concluding figure leading to Sa, the raga is known as Yaman-Kalyan.

Raag elaboration can focus more on mandra and madhya saptak, thus the key note chosen for yaman is preferred to be a higher tone.

Hindustani vocalist, scholar, and researcher Ramkrishna Das Nadrang suggests that some musicians believe Yaman's origin traces back to Yemen, a country in the Middle East situated at the southern end of the Arabian Peninsula.

However, there exists no historical evidence or record of Yemeni natives practicing the Yaman melody within the context of Hindustani music in India.

Consequently, they emphasize the importance of "imaan laao (submitting to the aphorism)," making Yaman the starting point for music instruction.

Ramkrishna Das posits an alternative hypothesis suggesting that the word "yaman" may be linked to Sanskrit "Yavan" (Muslim).

This transformation into "Yaman" was, in a sense, a derogatory term, as it altered the sanctity of Kalyaan due to its intricate tonal movements, characterized by excessive zigzag patterns and internal skips or gaps between notes.

Some proponents attribute the creation of Yaman to Ameer Khusro (1253–1325), a Sufi saint, poet, singer, and courtier to several Indian rulers.

According to Ramkrishna Das, contemporary Yaman is a derivative of an older raag called "yamani," which developed along the banks of the Yamuna River near Mathura-Vrindavan or in the Chaiti dhun of Varanasi.

Both of these tonal structures mirror essential movements of contemporary raag Yaman, sans the tivra madhyam (sharp fourth).

Spontaneous use of tivra madhyam is evident in the tune of raag "janglaa," prevalent in the rasiya singing of Braj-Vrindavan (mPGMPmP NDNS' DNP- nDP GMPmP).

It is conceivable that the frequent use of tivra ma was propagated by followers of Khusro, qawwali singers, and folk musicians, leading to the evolution of Yamani into Yaman while retaining the core tonal movements.