Chhayanat raag is believed to have originated from Kalyan thaat. Both Madhayam are used in this raag .All the swars are used in the aaroh and avaroh,so its jati is Sampurn -Sampurn(7,7). In this raag Re & Pa are Vadi & Samvadi swar .The singing time of this raag is 6 pm to 9 pm (the first part of the night).
Chhayanat Raag
How To Read Sargam Notes –
- “.” is used for Mandra saptak(Lower octave notes) swars.eg- .Pa
- “*” is user for Taar Saptak (Higher Octave notes) Swars eg – Pa*
- “(k)” small character is used for komal swars.eg – ( Re(k) , Ga(k) , Dha(k) , Ni(k) )
- Ma(t) here “(t)” is used for showing teevra swar Ma(t) .
- “-” is used for Holdong the notes according to the Song.
- Swars written “ReGa” in this manner means they are playing fast or two swars on one beat.
- Ma(Ga) or (Ga)Ma Here Ga is Kan Swar or Sparsh Swar and Ma is Mool Swar. (You Can skip the kan swar if not understand how to play)
- Swars written [ Ni(k) Pa ] in this manner they are playing or singing in sliding mode means Meend acc to Indian music .
- { NiSa*Re*Sa* Ni } here this braket {} is used for showing Khatka in which swars are playing fast .
Description of raag Chhayanat;-
Aaroh- Sa, Re Ga Ma Pa, Ni Dha Sa*.
Avaroh- Sa* Ni Dha Pa, Ma(t) Pa Dha Pa, Ga Ma Re Sa.
Pakad- [Pa Re] – Re Ga – Ga Ma – Ma Pa – Ga Ma Re, Sa Re Sa.
Thaat- Kalyan thaat
Vadi-Samvadi swar- Re and Pa.
Jati- Sampurn – Sampurn(7,7)
Singing time -6 pm to 9 pm (the first part of the night).
Important notes:-
1.Although the explanation of this raag found in ‘Raag Lakshan’, ‘Sangeet Saramrat’, and ‘Sangeet Parijat’ etc ancient granth but this raag different from modern Chhayanat raag. Chhayanat of ‘Sangeet Parijat’ is very similar to modern Chhayanat.
2.It is generated from combination of Chhaya and Nat raag. But now days modern form of Chhayanat is so popular people can’t be imagine it’s combination of two raag. Sa Re, Re Ga Ma Pa and Sa Re Sa is swar of Nat raag and [Pa Re], Re Ga Ma Pa, Ga Ma Re Sa is swar of Chhaya raag in this raag. Many raag seen in it apart from Chhaya and nat raag. As Dha Ni(k) Dha Pa or Sa*, Sa Dha Pa, Ma Ga Ma Re and Re Ga Ma Ni(k) Dha Pa( Alheya bilawal) DhaPaMa(t) Pa, Ga Ma Pa, Ga Ma Re Sa (Raag Kamod and Hameer) etc.
3.Sometimes komal Ni as vivadi swar to increase fairness of raag in avaroh, Sa* Dha Ni(k) Pa. Now komal Ni used very much.
4.Twira Madhyam is less used between two Pancham. Twira Madhayam never used as Ga Ma(t) Pa in this raag.
5.Twira Madhayam of Chhayanat is know as raag vachak swar. With this Chhayanat comes under Kalyan thaat. Some singers do not use Twira Ma in this raag and consider as this is raag of Bilawal thaat.
6.Slow down use of Re Ga Ma Pa is very well in hearing. As Sa Re – Re Ga – Ga Ma – Ma Pa, [(Pa) Re], Sa Re Sa.
7.The association of Pa Re is very ear loving with neend and it’s use equally.but remember that Pa Re can be used in middle and higher octave, As Pa Re.
8.Now days komal Ni used so much and It’s left place of vivadi swar and know as anuvadi swar.
Tirobhav-Aavirbhav:-
Mool Raag- [Pa Re], Re Ga – Ga Ma – Ma Pa(Chhayanat).
Tirobhav- Ga Ma Re, Ga Ma Ni Dha Pa(Hameer).
Aavirbhav- [Pa Re], Re Ga Ma Pa Ga Ma Re, Sa Re Sa( Chhayanat).
Second Example:-
Mool Raag- Sa Re, Re Ga, Ga Ma Ni(k) Dha Pa(Chhayanat).
Tirobhav- Ma(t) Pa Dha Pa Ma – – ReSa Re – Sa(Kedar).
Avirbhav- Sa Re, Re Ga, Ga Ma Re – Sa Re Sa(Chhayanat).
Similar raag- Kamod and Hameer.
Important swar combination:-
1. Sa Re – Re Ga – Ga Ma Re, Sa Re Sa.
2. [Pa Re] Sa Re Sa, Dha Pa Sa.
3. Re Ga Ma Ni(k) Dha [Pa Re].
4. Pa Pa Sa*, Sa* Re Sa* Dha [Pa Re].
Study of swar:-
Sa- General
Re- both types of Bahut
Ga-Alanghan Mulak Bahutav
Ma- Alanghan Mulak Bahutv
Ma(t)- less but Anabhyas bahutv on special place.
Pa- both types of bahutv
Dha- Sometimes langhan alpatv in aaroh, but Alanghan bahutv in avaroh.
Ni- Anabhyas alpatv.
Chhayanat raag question answer –
What are the Aaroh, Avaroh & Pakad of Chhayanat raag?
Aaroh- Sa, Re Ga Ma Pa, Ni Dha Sa*.
Avaroh- Sa* Ni Dha Pa, Ma(t) Pa Dha Pa, Ga Ma Re Sa.
Pakad- [Pa Re] – Re Ga – Ga Ma – Ma Pa – Ga Ma Re, Sa Re Sa.
What is the Jati of Chhayanat raag ?
Jati- Sampurn – Sampurn
Which swars are used in Chhayanat raag ?
Aaroh- Sa, Re Ga Ma Pa, Ni Dha Sa*.
Avaroh- Sa* Ni Dha Pa, Ma(t) Pa Dha Pa, Ga Ma Re Sa.
Pakad- [Pa Re] – Re Ga – Ga Ma – Ma Pa – Ga Ma Re, Sa Re Sa.
What is the Thaat of Chhayanat raag ?
Thaat- Kalyan thaat
What are the Vadi- Samvadi Swar of Chhayanat raag ?
Vadi-Samvadi swar- Re and Pa.
What is the introduction of Chhayanat raag?
Chhayanat raag is believed to have originated from Kalyan thaat. Both Madhayam are used in this raag .All the swars are used in the aaroh and avaroh,so its jati is Sampurn -Sampurn(7,7). In this raag Re & Pa are Vadi & Samvadi swar .The singing time of this raag is 6 pm to 9 pm (the first part of the night).
