• Raag Kamod •


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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Aroha: SRP, GmRS, mRP, DNS
Avroh: SNDP, MPDP, GmP, GmRS

Chalan: e.g. S(m)R(m)RP; GmPGm(S)RS; SmRRP; MPDP; GmDDP; GmPGm(S)RS; PPS; SRS; SR(S)DD; P (Parrikar)


—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…


• Ragmalas •

Historic miniature paintings (learn more)

“In the Sirohi tradition, Kamod Ragini is invariably shown as a woman feeding peacocks…” (Sirohi, c.1685) / “A very early ragmala: in contrast to the highly refined, cosmopolitan images made for Emperors of the era, this painting reflects the indigenous Indian aesthetic of bright, flat colors, decorative patterning, and stylized forms. Kamod is represented by a solitary woman; she holds two garlands of flowers for her lover, whom she hopes to meet in the woods…” (unknown, c.1610)


• 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 | 32Enclosed | 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.


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


–Swara Geometries–

Core form: SRGmMPDNS
Reverse: SrgmMPdnS
Negative: 3-2-5-2
Imperfect: 1 (Ma)
Detached: none
Symmetries: mirror (mM—NS)
Murchanas: Bihag set

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


–Global Translations–

Carnatic: ~Behag
Jazz: Major (dbl. 4th)
Pitch classes (‘fret-jumps’):

o • o • o o o o • o • o o


• Tanpura: Sa–Pa (+Re)
• Names: Kamod, Kamoda


—Amjad Ali Khan (~2000s)—



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An open-ended project seeking to bring North Indian raga closer to all who approach with open ears. Combines direct input from dozens of leading Hindustani artists with in-depth insights from music history, global theory, performance practice, cognitive science, and much more! [out 2023-24]

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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

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