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

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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 fabled to have healed the sick, also mentioning that “in several ragmala paintings, Kamod is portrayed as a semi-nude female ascetic with a rosary in her hand”.

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• Raga Megalist (365+) •

राग कामोद

Search | Glossary | Tags

• Hindustani Raga Index •

Aroha: SRP, GmRS, mRP, DNS

Avroh: SNDP, MPDP, GmP, GmRS

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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)—

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[motifs, e.g. 0:04] (S)m\RRP, (R)PS(NSNRNSRDNPD) P(DMPGmRGR) S(NSNS); (S)m\RRP, (R)P(MP), GmRS…

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• Ragmalas •

Historic miniature paintings (learn more)

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“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)

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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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.

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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–

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• Core form: S–R–G–mM–P–D–N–S

• Reverse: SrgmMPdnS

• Negative: 3-2-5-2

• Imperfect: 1 (Ma)

• Detached: none

• Symmetries: mirror (mM—NS)

• Murchanas: Bihag set

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

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–Global Translations–

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• 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)

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o • o • o o o o • o • o o

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• Tanpura: Sa–Pa (+Re)

• Names: Kamod, Kamoda

• Transliterations: Hindi (कामोद)

—Amjad Ali Khan (~2000s)—