Raag Kamodकामोद
Sourced · not yet reviewed by a musician
Kalyan thaat · Sampurna-Sampurna (vakra) · Early night
- Sunset
- Early night
- Night
Swaras and phrases
Tap a lit note to hear it · Synthesized for study — not a recording
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa Re Pa Ga Ma Re Sa Ma Re Pa Dha Ni Sa'
Source: Artium Academy
- Artium Academy, Raag Kamod page, aroha
- 4 versions in 4 sources
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' Ni Dha Pa Ma♯ Pa Dha Pa Ga Ma Pa Ga Ma Re Sa
Source: Artium Academy +2
- Artium Academy, Raag Kamod page, avaroha
- Online Sangeet, Description / Avaroh
- Raga Junglism, Melodic summary / Avroh:
- 3 of 4 sources agree
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- Re / Pa; Ga Ma Dha Pa; Ga Ma Pa Ga Ma Re Sa
Source: AUTRIM
- AUTRIM, Kamod page, characteristic phrases
- 4 versions in 4 sources
About Kamod
In Kamod, Ga and Ni are weak and Re and Pa are important. It favours the upper middle octave and glides, and uses tivra MaTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary only as a grace note near Pa and Dha.
Curriculum: Pracheen Kala Kendra's vocal syllabus prescribes it at Bhushan Final.
Source: PKK
- PKK, printed p.7, list of prescribed raags
How it moves
Aroha: Online Sangeet's FAQ prints a komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary-re ascent that contradicts its own Kamod description, so it is left out of this vote.
Avaroha: Online Sangeet's FAQ prints a komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary-re descent that contradicts its own Kamod description, so it is left out of this vote.
AUTRIM says Ga and Ni can be left out of the ascent, but Ga can appear in Ga Ma Pa Ga Ma Re Sa or Ga Ma Dha Pa.
Source: AUTRIM
- AUTRIM, Kamod page, opening description
AUTRIM describes gliding movements in the upper middle octave. It gives no full descending scale.
Source: AUTRIM
- AUTRIM, Kamod page, opening description
Learner focus
Touch Ma on the way from Re to Pa, and keep tivra MaTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary as a grace note near Pa and Dha.
Source: AUTRIM
- AUTRIM, Kamod page, opening description
Caution
Too much stress on Ni and tivra MaTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary can make it sound like Shyam Kalyan or Shuddha Sarang.
Source: AUTRIM
- AUTRIM, Kamod page, description
Study prompts
Short exercises that restate what the cited sources say.
- Sing Re and glide up to Pa.
- Sing Ga Ma Pa Ga Ma Re Sa.
- Too much Ni and tivra MaTivraThe raised form of Ma relative to shuddha Ma in Hindustani teaching. The other swaras do not have a tivra form in this system.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary can suggest Shyam Kalyan or Shuddha Sarang. Sing a phrase with Ni kept light.
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 3 sources agree
- Jati3 versions in 3 sources
- TimeAll 5 sources agree
- Aroha4 versions in 4 sources
- Avaroha3 of 4 sources agree
- Pakad4 versions in 4 sources
- VadiAll 3 sources agree
- SamvadiAll 3 sources agree
Similar raags named by the sources
- Shyam Kalyan: Too much Ni and sharp Ma can suggest it.
Source: AUTRIM
- AUTRIM, Kamod page, description
- Shuddha Sarang: Too much Ni and sharp Ma can suggest it.
Source: AUTRIM
- AUTRIM, Kamod page, description
- Malhar Family: Shares Re / Pa, but two-Ni melodic patterns distinguish Malhar.
Source: AUTRIM
- AUTRIM, Kamod page, description
- Gaud Sarang: Shares Ma(tivra) Pa / Sa, requiring care.
Source: AUTRIM
- AUTRIM, Kamod page, description
- Chhayanat: Shares Ma(tivra) Pa / Sa, requiring care.
Source: AUTRIM
- AUTRIM, Kamod page, description
- Kedar: Shares Ma(tivra) Pa / Sa, requiring care.
Source: AUTRIM
- AUTRIM, Kamod page, description
Not stated in our sources yet
The sources we cite do not state: other names. RagaPedia leaves these blank rather than guess.
Film songs
Film songs where a checked source names Kamod. Each song shows whether a musician has reviewed it yet.
Archive recordings
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Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
Finding a treasure in Rama
AUTRIM presents Ajoy Chakrabarty singing a bada khayal in Kamod. Its lyric notes describe a poet who celebrates finding Rama as a treasure and wishes to offer him body and soul.
Documented · Source: Ajoy Chakrabarty performance: bada khayal and Rama lyric explanation
Sources for this profile
ThaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary, time, vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, arohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary, avarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary and pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary show the version the most independent publishers print; the sources page lists every version and who prints it. Other facts follow the source cited beside them. No musician has reviewed this profile yet.
- Kamod: raag profileMusic in Motion: AUTRIM (NCPA and University of Amsterdam) · cited as AUTRIMRaag profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
- Raag KamodArtium Academy · cited as Artium AcademyA private music academy's raag page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
- Kamod Raag Bandish 16 Matras Allap Taan Music Notes In EnglishOnline Sangeet · cited as Online SangeetRobots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
- Raag Kamod — Aaroh, Avaroh, Pakar & Samay | RiyazRiyaz / myriyaz.com · cited as RiyazRobots explicitly allows all crawlers (C-RIYAZ-robots.txt). Only public static glossary pages read, without account creation or the gated deep-dive feature. Public pages/home have no terms link; no open licence assumed. Factual transcriptions only. Several entries have internal inconsistencies, preserved in notes; this is a public-web vote, not a reliability endorsement. Accessed 17 October 2026.
- Kamod | SRGmMPDNS | Hindustani Raga Index | 365+ RagasGeorge Howlett / Raga Junglism · cited as Raga JunglismRobots checked: public /ragas/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
- Music and Dance Knowledge / Information: Hindustani raag profilesDivya Music · cited as Divya MusicMusic school's raag notes. No open licence: cited and paraphrased only. Accessed 7 October 2026.
- Vocal Music syllabus: Prarambhik to BhushanPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.