| Swar | Both Madhyams. Rest All Shuddha Swaras. |
| Jati | Sampurna - Sampurna Vakra |
| Thaat | Kalyan |
| Vadi - Samvadi | Pancham - Rishabh |
| Time | 2nd Prahar of the Night (9PM to 12AM) |
| Vishranti Sthan | R; G; P; - S'; P; R; |
| Mukhya Ang | ,P R R ; R G m P ; G m R S ; S' P R G ; m G m R S R S; |
| Aaroh - Avroh | S R G R ; G P m G R S ; S R G m P D N S' - S' N D P M P D P ; R G m P m G R S |
Raag Chhayanut is a very sweet Raag that creates its mood and over powers enviornment with its impact. This is a mixture of Chhaya and Nut Raags. R G R S ; D N D P ; R G R S is very attractive, sweet and emotionally swaying. The Shuddha Madhyam is freely used in Aaroh and Avroh but Teevra Madhyam is used only in Aaroh like: D M P ; P D M P or M P D P. In Aaroh, sometimes Shuddha Nishad is skipped to reach Tar Saptak Shadj (S’) like: R G m P ; P D P P S’. Descending from Tar Saptak Shadj (S’) to Pancham via Meend at once creates the Raag Mood.
Sometimes Komal Nishad is used as a Vivadi Note, like: R G m n D P. In this Raag the Pancham-Rishabh Sangati (P R or ,P R) is important and Raag Vachak. Using Meend and Kan while rendering heightens the melodic impact of the Raag. Aalaps and Taans are often started with Rishabh.
This Raag is expanded mostly in Mandra and Madhya Saptaks. The nearby Raags are Kedar, Kamod and Hameer. This Raag creates a heavy atmosphere. Following are the illustrative combinations of the Raag:
R R G ; G m P m ; G m R ; R G m P ; P D P R ; R G m P ; m G m R S ; ,P ,P S ; ,P R S ; R G m P D P R ; R R G ; G G m ; P m G m R S ; ,P S R R S ; R G m P ; P D P ; P M D P P R ; G m P S’ ; R’ S’ ; D D P ; D P M P ; R R G ; R G m P D P ; M P M P D P ; D N D P ; R G R S ; ,P S R R S ; R G m n D P ; R R S ;
Raag Chhayanut Bandishen
All the following bandishen are written and composed by Acharya Vishwanath Rao Ringe ‘Tanarang’ and are published in his book “Acharya Tanarang Ki Bandishen Vol 1”. This book contains the notation and audio of 389 Bandishen from 31 Raags. All these bandishen are sung by Shri Prakash Vishwanath Ringe. For more information and to buy this book, please contact us.
1 | Bada Khyal - Ram Kripa Son Beda Paar Lage Taal - Ada Chautal Vilambit Theme - Shri Ram | |
2 | Madhya Lay Khyal - Kirpa Karo Nath Taal - Jhaptal Madhya Lay Theme - Bhakti Ras | |
3 | Dadra - Bansuri Bajaye Kanha Taal - Dadra Drut Theme - Shri Krishna - Raas Leela | |
4 | Chota Khyal - Ghar Angana Kachu Na Suhaye Taal - Trital Drut Theme - Virah Ras | |
5 | Chota Khyal - Murali Manohar Shyam Radha Taal - Trital Drut Theme - Shri Krishna - Bhakti Ras | |
6 | Chota Khyal - Pari Kan Bansi Ki Dhun Taal - Trital Drut Theme - Shri Krishna - Murlidhar | |
7 | Chota Khyal - Madmaati Gujaria Taal - Trital Drut Theme - Shri Krishna - Gopiyon ki Vyakulta | |
8 | Chota Khyal - Man Mohini Radha Taal - Trital Drut Theme - Shri Radha | |
9 | Chota Khyal - Mero Manuva Tanarang Taal - Trital Drut Theme - Virah Ras | |
10 | Chota Khyal - Kamal Nayan Ghanshyam Tanu Ho Taal - Trital Drut Theme - Shri Krishna - Mahima Varnan | |
11 | Chota Khyal - Sughar Chatur Balma Mori Taal - Trital Drut Theme - Shringar Ras | |
12 | Chota Khyal - Un Bin Kalana Aaye Re Man Taal - Trital Drut Theme - Virah Ras | |
13 | Sargam - Re Ga Ma Dha Pa Taal - Roopak Drut |