PANDIT | OMKARNATH THAKUR | RAAG CHHAYA NAT

Few raagas in the Hindustani music measure up to
Chhayanat in popularity. The union of its two constituents -
Chhaya and Nat - is so good as to leave virtually no trace of
any suture.

Chhaya, like Nat, rarely strikes out on its own. There is some
overlap with Nat and although differences of opinion prevail
on the details, there's a meeting of minds that the
meend-laden swoop Pa to Re is Chhaya's signpost. The
curvature of this Pa to Re trajectory is subject to variation.
it is difrant from raag kalyan "s Pa to Re. Some other features set Chhaya apart
from Nat,de-emphasis of the madhyam and rishab, shades of Bilawal and
Bihag and so on.

Chhayanat's poorvaanga is assembled from Nat, leading to a dominant rishab and
madhyam. Re is the lifeblood of Chhayanat, its treatment vital to the realization of
the raaga's swaroopa. The tug on Re with a kana of Ga, the repose following the
Chhaya-esque swoop Pa to Re - all these advance the rishab's credentials. Several
forays are either initiated from or conclude on that swara.

Although the pancham is strong it lives in the shadow of Re and Ma.
The uttaraanga is typically launched from the pancham as in PaDhaPaPa Sa" or
PaPa Sa". Some few take to Pa Ni Sa" or even Dha Sa".
The illumination of the dhaivat - Ra Ga Ma Dha, Dha, Pa - adds a
piquant effect. The gandhaar, although necessary, is relatively low key;
the shuddha nishaad gets to eat the humble pie.