S-R-G-mM-P-D-N-S

---

An intricate, multicoloured raga which draws together elements from several others – notably including Malhar, Hameer, and Kalyan, along with shades of Kedar and Chayanat. Ga is generally omitted in aroha, and distinguishing sequences include S(m)RP, DPMP, GmPGmRS, amidst a complex ornamental character (see melodic summary). Joep Bor discusses the raga’s possible origins as a pre-16th-century blend of Gaud and Hameer, once fabled to have healed the sick, also mentioning that ragmala paintings often depict Kamod as as a semi-nude female ascetic with a rosary in her hand (although Mors notes that, “in the Sirohi tradition, Kamod ragini is invariably shown as a woman feeding peacocks…”). Compare to the overlapping Tilak Kamod, Nat Kamod, Shyam Kalyan, and Maluha Kalyan.

---

• Raga Masterlist (1000+) •

राग कामोद

Search | Glossary | Tags

• Hindustani Raga Index •

Aroha: e.g. S(m)RP, RRP, GmPDP, PPS

Avroh: e.g. SNDP, MPDP, GmP, GmRS

---

Pakad: e.g. S(m)RP; PPS; GmPGmRS

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

• A complex raga involving elements of many others, notably including Malhar in poorvang (S(m)RP), Hameer in madhyang (GmDDP), and Kalyan in uttarang (DMP; SRSNDP) – along with hints of Kedar (MPDP) and Chayanat (PDPSRS)

• Ga is often skipped in aroha launches (S(m)R; RRP), but is vital to the concluding pakad of GmPGmRS – and high Sa is accentuated with long P/S slides, amidst a lively, highly intricate ornamental character (e.g. S(NRNSRD); P(DMPGmR))

• The Re-Pa axis provides a stable base for weaving melodies which interlink both Ma swaras – with shuddha ma decorating Re from above as S(m)RP, and tivra Ma paired with Pa and Dha (e.g. GmPDMP; SNDPMPDP)

• Sa–ma–Pa are the strongest nyas, although Re and Dha can also be elongated to strengthen the Kalyan-ang – while tivra Ma and shuddha Ni should not be overemphasised (n.b. some renditions also include touches of komal ni, e.g. SDnP)

• Associated with the early night hours – and depicted in classical ragmala paintings as a semi-nude ascetic or a woman feeding peacocks

—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

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

---

Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

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

Also compare to other members of the Kalyan and Malhar ragangas

–Swara Geometries–

---

• Core form: S–R–G–mM–P–D–N–S

• Reverse: SrgmMPdnS

• Complement: SrgdnS

• Imperfect: 1 (Ma)

• Detached: none

• Symmetries: mirror (mM—NS)

• Murchanas: Bihag set

---

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

---

–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

• Transliterations: Hindi (कामोद); Bengali (কামোদ)

—Amjad Ali Khan (~2000s)—