The Automated Transcription for Indian Music (AUTRIM) Project by NCPA and UvA


Once very popular, Kamod is rarely heard on concert platforms today.

Tone material:  S R G m M P D N

Ga and Ni are regarded as weak and can be avoided in the ascending line with phrases such as R /P and P /S. However, Ga can be an ascending note in the characteristic phrases, as in GmP Gm R S or G m D P.  Sharp Ma is only used as a grace note in association with Pa and Dha, for example PMDP or PDMP. Re and Pa are important notes and Pa is a resting point as well. The Re of R /P has a slight touch of Ma, otherwise shades of other rag may appear.

Movements of this rag are mostly inclined towards the upper middle octave and it shows abundant usage of glides. High Sa can be approached as M \R /P – P /S or P D M P /S.

Some characteristic phrases:
R /P
G m D – P –
GmP Gm R S

In Kamod, undue emphasis on Ni and sharp Ma should be avoided to keep it distinct from rag Shyam kalyan and Shuddha sarang.

The phrase  R /P also occurs in all varieties of Malhar. However, the melodic patterns using flat and natural Ni make the Malhar family rag distinct from Kamod.

The movement M P /S for approaching high Sa is common for Gaud sarang (vide), Chhayanat (vide), Kedar (vide) and Kamod (vide). Therefore, care should be taken to avoid drifting into another rag. Kamod is distinct from rag Tilak kamod (vide).

Time: early night (Bhatkhande [KPM III] 1999: 787)

Further listening:
Bade Ghulam Ali Khan MOAE 5004
D.V. Paluskar EALP 1366
Recording by D V Paluskar
Recording by Vilayat Khan

Performance by Ajoy Chakrabarty 

Composition: bada khayal

येरी मैं ने पायो जी
राम रतन धन

मैं तो अपनायो
चैन न तिहारे
जिन के वारो
मेरो तन मन

The poet expresses happiness over finding the treasure –the Lord Rama. After having taken to Rama, he wishes to dedicate to the God his body and soul.

Tal: Tintal (medium tempo)

9-14: Just after the announcement of Sa, the tonic, two characteristic phrases for Kamod -M R /P where P is sustained and GMP GM R S (25-27)
41-64: Variation of these phrases follows reaching Dha in both the middle and lower octave. The melody of the composition also includes these phrases and can be heard several times throughout the presentation
Before 66: The composition begins, It has the accentuated beat (sam) on paa (paayo). Repetition of the first line follows with variations
Around 170: the melodic exploration moves to lower octave, touching the lower Pa (175 -179)
Around 245: the melody starts to include higher Sa and even some faster phrases (280)
After 316: Having established the higher Sa, the second part of the composition is presented
Around 7.15: Fast melodic runs (tan) with solfaggio (sargam). Sometimes these phrases also include shake (7.40). This pattern continues till the end

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