S-R-G-mM-P-D-N-S

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A longstanding combination of Chaya and Nat, creating (as per Tanarang) an “attractive, sweet, and emotionally swaying” mood – the latter in particular summoned via ‘simple vakra’ phrases such as DNDP; RGRS. The Pa–Re sangati is vital, and shuddha ma is stronger than tivra Ma – with the raga inviting a range of expressive ornament patterns (including a prominent P\S slide in descent), as well as an occasional kan of komal ni. Raja notes that Chayanat has now largely supplanted both its parents in popularity. Also compare to the overlapping Kalyan raganga, as well as a well-stocked array of other Bihag–prakriti ragas listed below.

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• Raga Masterlist (1000+) •

राग छायानट

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• Hindustani Raga Index •

Aroha: SRGmP, RGmD, PDPS

Avroh: SDnP, DPm, PRGmRS

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Chalan: e.g. SRGmP, PR, RG, Gm, mR, S; SDnP, PS, NS(G)R, RGmD, DP; PRGmRS, SR, RG, RGmnDP, PDPPS; S(N)RS, DPm, GmnDPR, RG, GmRS; SSmGP, DNS, SDPR, GmP, GmRS (Parrikar)

—Abhisek Lahiri (2011)—

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[gat, e.g. 0:24] (D)S, S(DnP) P, (M)P, RGm(D)P (G)m, G/P(G)GG, G(mG)R S; P P/S, G\RRG, GmP(nDn)P (M)P, P\R G(mPGm) RS…

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Bihag, Nand, Hameer, Kamod, Maru Bihag, Pat Bihag, Gaud Sarang, Shyam Kalyan, Khem Kalyan, Lakshmi Kalyan, Sanjh Saravali

Also compare to other members of the Kalyan raganga

–Swara Geometries–

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• Core form: S–R–G–mM–P–D–N–S

• Reverse: SrgmMPdnS

• Complement: SrgdnS

• Imperfect: 1 (Ma)

• Detached: none

• Symmetries: mirror (mM—NS)

• Murchanas: Bihag set

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• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• Carnatic: ~Behag

S-R₂-G₃-M₁-M₂-P-D₂-N₃-S

• Jazz: Lydionian

1-2-3-4-#4-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-2-4-5-6-7-9-11-0

(2–2–1–1–1–2–2–1)

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o • o • o o o o • o • o o

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• Tanpura: Sa–Pa (+Re)

• Names: Chayanat, Chhayanat, Chaya Nata, Chaya Nut

• Transliterations: Hindi (छायानट); Bengali (ছায়ানট); Kannada (ಛಾಯನಾತ್)

—Rashid Khan (2015)—