| Swar | Madhyam and Nishad Varjya in Aaroh. Rishabh Komal. Rest all Shuddha Swaras. |
| Jati | Audhav - Audhav |
| Thaat | Marwa |
| Vadi - Samvadi | Pancham - Shadj |
| Time | 4th Prahar of the Day (3PM to 6PM) or Sandhi Prakash Raag |
| Vishranti Sthan | S; G; P; |
| Mukhya Ang | P D P S'; S' P ; P D G P ; P G r S; |
| Aaroh - Avroh | S r G P D P S' - S' P D P ; P D G P; P G r S |
Raag Jayat is also known as Raag Jait. Three variations of this Raag exist. First one is with Rishabh Komal and Madhyam and Nishad Varjya (Audhav-Audhav). Second variation uses Madhyam Teevr and the Third one uses both Rishabhs and both Dhaivats, along with Teevr Madhyam. The first variation is the most popular and is described here.
In this Raag, Pancham is a powerful and resting note. Dhaivat is used as a Vakra Note, for example: P D P S’ ; S’ P D G P. One should refrain from employing Dhaivat in straight notes in Aaroh and Avroh, meaning P D S’ or S’ D P should not be taken. If Dhaivat is employed like this, Raag Deshkar might make it’s appearance. Therefore, Dhaivat is used like: P D P S’; S’ P D P. Also, Dhaivat is weak and not very rigorously used.
Raag Jayat also resembles Raag Vibhas, but the use of Shuddha Dhaivat and less use of Rishabh in Aaroh separates it from Vibhas. Repeated and Vakra use of Shadj and Pancham brings out the essence of Jayat.
S-G, G-P, P-S’ are important Swar Sangati and P-D-G are Raag Vachak cluster Notes. Komal Rishabh can be skipped sometimes while ascending, for example: S G P ; P D P; P D G P ; G r S’ ;. Gandhar and Pancham are resting notes. Following Notes brings out Raag Jayat instantly:
S r S ; S r G P G r S ; S G P ; P D P ; P D G P ; P G r S ; r G P ; G P G r S ; S G P ; P D G P ; P D P S’ ; S’ r’ S’ ; S’ P ; P D P ; P D G P ; P G r S ;
Raag Jayat Bandishen
All the following bandishen are written and composed by Acharya Vishwanath Rao Ringe ‘Tanarang’. All these bandishen are sung by Shri Prakash Vishwanath Ringe. For more information, please contact us.
1 | Bada Khyal - Paar Na Payo Naad Brahm Ko Taal - Ektal Vilambit Theme - Sur Sadhana | |
2 | Sadra - Balma Anadi Jane Na Preet Taal - Jhaptal Vilambit Theme - Roothna Manana | |
3 | Sadra - Birhan Ki Bitha Chuki Taal - Jhaptal Vilambit Theme - Virah Ras | |
4 | Madhya Lay Khyal - Bhaj Tanarang Kati Hain Dwand Taal - Roopak Madhya Lay Theme - Bhakti Ras | |
5 | Chota Khyal - Nain Tose Laage Mituva Taal - Trital Drut Theme - Virah Ras | |
6 | Chota Khyal - Aan Milo Re Sajna Taal - Trital Drut Theme - Virah Ras | |
7 | Chota Khyal - Chando Mori Baiyan Langar Tum Taal - Trital Drut Theme - Shri Krishna - Gopiyon se Chedchad | |
8 | Chota Khyal - Chun Chun Laayi Kaliyan Sundar Taal - Trital Drut Theme - Shringar Ras | |
9 | Chota Khyal - Chun Chun Laao Malaniya Taal - Trital Drut Theme - Shringar Ras | |
10 | Chota Khyal - Man Me Base Girdhari Taal - Trital Drut Theme - Shri Krishna - Mahima Varnan | |
11 | Chota Khyal - Mora Man Har Lino Taal - Trital Drut Theme - Virah Ras | |
12 | Chota Khyal - Pal Pal Chin Chin Umar Taal - Trital Drut Theme - Bhakti Ras | |
13 | Chota Khyal - Safal Karle Janam Apna Taal - Trital Drut Theme - Bhakti Ras | |
14 | Chota Khyal - Sanjh Samay Gajar Baje Taal - Ektal Drut Theme - Bhakti Ras | |
15 | Chota Khyal - Sumir Hari Naam Man So Tanarang Taal - Trital Drut Theme - Bhakti Ras | |
16 | Sargam - Pa Ga Pa Dha Pa Sa Taal - Trital Drut |