Raag Kamod part 2 and raag gaud sarang-Indian Music Theory

Raag Kamod part 2 and raag gaud sarang-Indian Music Theory

raag gaud sarang

This may be noted that in Raag Kamod Arohi must be played from Re to Pa, whereas in Chayanat Amrohi is played form Pa to Re. See below how it is to be played:

Sa-Re-Pa-Ga-Ma-Dha-Pa-Ga-Ma-Pa-Ga-Re-Sa, this is the Taan for Kamod.

Dha-pa-re-re-ga-pa-ma-ga-ma-re-sa is the Taan for Chayanat.

Simple Taans have been mentioned above so that every student may learn it with ease.

Remember the wadi note for kamod is pa whereas the wadi note for Chayanat is Re.

Kamod is the Raag that is played on poorwang (first part of octave) whereas chayanat is played on uttarwang that means (second part of octave).

gaud sarang:

gaud sarang is the sampuran raag (7 notes) of kalyan thaat. The notes are not played in sequence in this Raag therefore it is called vikar raag.

Both Madhams i.e.Ma (F and F sharp) are allowed in this Raag.

This Raag is to be sung in the afternoon. Ne must be played less in this Raag.

In Amrohi Ga is vikar in this Raag Dha is wadi and Ga is sumwadi in Gorsarang.

Suppose if we consider Ga as wadi note for this Raag, then it’s time must be evening not afternoon, according to the principle of Indian music theory.

Some pandits believe it to be the raag of Bilawal Thaat whereas some believe it to be the combination of Nutt, Kidara and Purbi.

The taan of gaud sarang is as follows:-



Remember black Ma (F sharp) is not to be used in Arohi.




Relevant Raag Posts:

Raag Kamod & Raag chayanat Notes-Indian Music Theory

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Raag Gaud Sarang Video


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