S-R-G-m-P-D-nN-S

---

A Jaipur-Atrauli combination of Shuddha Nat and Kamod, which may also touch on the territory of Chayanat. Described by Deepak Raja as being “sustained by a single bandish – Nevar Baajo – [which] has virtually been synonymous with the raga for over half a century, and is perhaps the sole repository of its ‘raga-ness’ still in circulation”. This composition, typically attributed to Sadarang, “appears to tilt the raga’s melodic personality towards Nat more than Kamod” (although Raja also adds that Manikbuwa Thakurdas, “the only authority to have offered a discussion of [Nat Kamod]…argues that the popular Kamod is not pure, as it has a fragment of Nat embedded in it [GmPGmRS]. As the ‘pure’ Nat went out of circulation, [this phrase] got wrongly associated with Kamod”). While rare in earlier generations, the raga has enjoyed something of a resurgence in recent years, with a variety of effective renditions now available: refer to those of Amant Ali, Pratima Tilak, Kesarbai Kerkar, Laxmibai Jadhav, Shruti Sadolikar, Mallikarjun Mansur (filmed live), Fareed Hassan (singing a tappa), Adnan Khan (on sitar: “a majestic and melodious raga, a blend of deep emotions and intricate patterns…it evokes longing and contemplation”), and Sharafat Hussain Khan (“I am so accustomed to hearing this famous bandish in madhya laya tintal, the brisk pace of this particular recording seemed a bit unusual. However, the tabla accompaniment [from Narayanrao Indorkar] is brilliant…assertive without being overbearing. Khan’s gilt-edged tonal quality and his Agra-styled ‘taiyyari’ are on display here…”).

---

• Raga Masterlist (1000+) •

राग नट कामोद

Search | Glossary | Tags

• Hindustani Raga Index •

Aroha: SRGmP, PDPS

Avroh: SDnP, PDPR, GmRS

---

Chalan: e.g. SRGmP; PDPmGmP; PDDP; PDPS; GmRS; SDnP; PDPR; GmPGmRS (Raja)

—Shruti Sadolikar (2020)—

---

[refrain, e.g. 1:01] R(mRm)RS R(mPnDn) PmRS R, S(mRmR) SRP mP\m, P(nDnD)P m(GmGR)G, (RG)m, m(DPDP)mP mm G, (R)G G(mGmG)P m(Pm)G (R)m (GmR)R; R(mRm)RS R(mPnDn) PmRS R…

---

• 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: Desh, Des Malhar, Champak, Alhaiya Bilawal, Devgiri Bilawal, Kukubh Bilawal, Bihagara, Bihagda, Gaud Malhar, Sorath, Arun Malhar, Tilak Malhar

–Proximate Forms–

Khamaj = ‘Nat Kamod only ni‘

Bilawal = ‘Nat Kamod only Ni‘

Miyan ki Malhar = ‘Nat Kamod komal ga‘

Shankara Karan = ‘Nat Kamod tivra Ma‘

(n.b. these are just ‘scalar similarities’, with nothing particular implied about phraseological overlap)

–Swara Geometries–

---

• Core form: S–R–G–m–P–D–nN–S

• Reverse: SrRgmPdnS (=Gandhari)

• Complement: SrgMdS (=Firozkhani Todi)

• Imperfect: 1 (Ni)

• Detached: none

• Symmetries: mirror (Gm—nN)

• Murchanas: Bihag set

---

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

---

–Global Translations–

---

• Carnatic: ~Bilahari

S-R₂-G₃-M₁-P-D₂-N₂-N₃-S

• Jazz: Bebop Dominant

1-2-3-4-5-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-2-4-5-7-9-10-11-0

(2–2–1–2–2–1–1–1)

---

o • o • o o • o • o o o o

---

• Tanpura: Sa–Pa

• Names: Nat Kamod, Nut Kamod

• Transliterations: Hindi (नट कामोद)

—Kesarbai Kerkar (1946)—