S-R-G-mM-P-D-N-S
An intricate raga which draws together elements from many others (Tanarang: “this dynamic melody is rather complex…one can see clear shadows of Malhar [SmRP], Hameer [GmDP], and Kalyan [SRS, SDP], together with glimpses of Kedar [MPDP] and Chayanat [PDPS, SRS]”). Distinguishing sequences include RRP, GmPGmRS, the taar Sa is accentuated with long P/S slides, and Ga is generally omitted in aroha (aside from the vakra phrase GmRS) – while Jairazbhoy notes that “tivra Ma can only be approached from above, and is always followed by a higher note“. Bor discusses the raga’s possible origins as a pre-16th-century blend of Gaud and Hameer, once held to have the power to heal the sick, also mentioning that “in several ragmala paintings, Kamod is portrayed as a semi-nude female ascetic with a rosary in her hand”.
• Raga Megalist (365+) •
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• Hindustani Raga Index •
—Veena Sahasrabuddhe (1999)—
[motifs, e.g. 0:04] (S)m\RRP, (R)PS(NSNRNSRDNPD) P(DMPGmRGR) S(NSNS); (S)m\RRP, (R)P(MP), GmRS…
• Classifiers •
Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):
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
Double: rR | gG | mM | dD | nN
Thaat: 10 | 32 | Enclosed | Inexact
Chal: All-shuddha | All-komal | Ma-tivra
Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row
Symmetries: Mirror | Rotation | Palindr.
Aroha: Audav | Shadav | Sampurna
Avroh: Audav | Shadav | Sampurna
Jati: Equal | Balanced | Av.+1 | Av.+2
Samay: Morning | Aftern. | Eve. | Night
Murchana: Bhup. | Bihag | Bilaw. | Charu.
Raganga: Bhairav | Malhar | Kan. | Todi
Construction: Jod | Mishra | Oddball
Origin: Ancient | Carnatic | Modern
Dominance: Poorvang | Uttarang
Prevalence: A-list | Prachalit | Aprach.
–Swara Geometries–
• Core form: S-R-G-mM-P-D-N-S
• Reverse: SrgmMPdnS (=none)
• Inverse: ni; SgmnS (=none)
• Imperfect: 1 (Ma)
• Detached: none
• Symmetries: mirror (mM—NS)
• Murchanas: Bihag set
–Global Translations–
• Carnatic: ~Behag
S-R2-G3-M1-M2-P-D2-N3-S
• Jazz: Major (dbl. 4th)
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)
o • o • o o o o • o • o o
• Tanpura: Sa–Pa (+Re)
• Names: Kamod, Kamoda
—Amjad Ali Khan (~2000s)—