Hamir/Kamod differences.

Arijit Mahalanabis

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Jan 9, 1992, 12:49:55 PM1/9/92

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Could someone please point out the differences in the structures of
Raga Hamir and Raga Kamod?

Thanks,
Arijit.

Rajan Parrikar

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Jan 9, 1992, 1:30:09 PM1/9/92

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In article <9q6H6?a...@cs.psu.edu> ax...@nargothrond.endor.cs.psu.edu (Arijit Mahalanabis) writes:
>Could someone please point out the differences in the structures of
>Raga Hamir and Raga Kamod?
>

Raag Hameer: Very beautiful early night raga. Known to the larger Indian
public in the form of Rafi's immortal "Madhuban me Radhikaa naache re..".
This raga (as also Kamod) belongs to the Kalyan thaath. Two madhyams,
rest all notes shuddha.
Aroha: Sa re ga ma ni dha...ni Sa
~
Avaroha: Sa ni dha pa ma" pa ga ma re sa
There's a lot of stress on the dhaivat as it is the vaadi (ga is the
samvaadi). The chalan is: ga ma ni dha....ni dha....ni ma" pa.. ga
~
ma re sa. (Note: ma" is the tivra madhyam while ~ indicated a kanswar
(just a brief touch).
People from Maharashtra might recall the Nandi which goes as "Naman
natavaraa vismaya kaaraa.." set to Hameer. D.V. Paluskar's Surajaa
Rahi.. is, however, my sentimental favourite.

Raag Kamod: Early night Raga. Got to be careful to keep it distinct
from Raga Kedara. Rather vakra.
Aroha: Sa ma re pa, dha pa sa
Avaroha: Sa dha ma" pa, ma re pa...ga ma pa ga ma re sa
Vaadi is pancham and samvaadi is rishab.
Chalan: ma re pa. ga ma pa ga ma re sa
Lata's "Airee jaane na doongi..." is based in Kamod though once
again D.V. Paluskar's Lagi re more nain lagan.. is a sentimental
favourite.

Rajan Parrikar
==============

Siddhartha Chatterjee

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Jan 9, 1992, 3:04:50 PM1/9/92

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In article <9q6H6?a...@cs.psu.edu>, ax...@nargothrond.endor.cs.psu.edu (Arijit Mahalanabis) writes:
> Could someone please point out the differences in the structures of
> Raga Hamir and Raga Kamod?

I'll make a simplistic start, and let Dan and Rajan beat up on me :-)

Both these ragas are vakra, so I won't give aarohan and avarohan
patterns, but rather present some characteristic phrases.

Hamir: A characteristic phrse is mPGM(S'D), NS'. The () denotes a
meend. Another phrase is GMR, GM(S'D).

Kamod: A characteristic phrase is (MR)P, mPDP, GMPMRSN.S, (MR)(MR)P.

The GMRS phrase is common to both ragas, and also with Kedar and
Chayanat. Kamod emphasizes P and R, while Hamir emphasizes D and G.

What recordings of Kamod are available other than Buddhadev Dasgupta's
sarod recording (with Desh and Mishra Piloo on the other side)?

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USPS: RIACS, Mail Stop T045-1, NASA Ames Research Center,
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ChristianAMR

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Jan 30, 2023, 9:50:16 AM1/30/23

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(S Chatterjee ) writes:

> The GMRS phrase is common to both ragas, and also with Kedar and
> Chayanat. Kamod emphasizes P and R, while Hamir emphasizes D and G.

---------------

Agree with Kamod , Hamir and Chhayanat but in Kedar I think m SR S or m RSR S are more used .
Btw in some versions of Shuddh Bilawal and " plain " Bilawal GmRS is also used , sometimes more like G (m)R S : R receiving a m Kan .

ChristianAMR

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Jan 30, 2023, 11:18:12 AM1/30/23

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^
From Soundofindia site :

Bilawal

Avaroha S'N-DP,DnDP,mG-mR-S
Pakad GPDnS',S'NDnDP-mGmRS

Ok , so also mG mR S or mGmRS