Raag Kamod & Raag chayanat Notes-Indian Music Theory

Raag Kamod & Raag Chayanat Notes-Indian Music Theory

raag kamod notes

Raag Kamod:

Raag Kamod is the sampuran (7 notes) Raag of Kalyan Thatt. It is customery to use both Ma (F + F sharp) notes in this Raag, that is why some people think this raag has evolved from Kalyan Thaat while others think it has been extracted from Bilawal Thaat.

The wadi note of this raag is Pa (G) whereas it’s samwadi note is Re (D) note and Ga (E) as vikar (not played in sequence). Remember black Ma (F sharp) is barely used.


This raag can easily be recognized due to the harmony of Re and Pa. This Raag is to be sung before evening. Some pandits believe this raag is the combination of raag Gonda and Hameer.

According to present day music theory, the notes of Ga-Ma and Ne are not to be played in Arohi but they must be played in Amrohi but not in sequence. So it must be played as under:-


Sa-Re-Pa-Pa, Dha-Pa-Ga, Ma-Dha-Pa, Ga-Ma-Pa-Ga, Sa-Re-Sa

Sa-Ne-Dha-Ga-Ma-Ga, Ma-Pa-Ga-Ma,Re-Sa-Re.

Raag Kamod is very popular and the musical composition in this raag are very easy to sing. Even the person of average ability can sing easily in this raag.

Raag Kamod is very demanding for the composition of commercials and light singing.

Raag Chayanat


raag chayanat is also a sampuran Raag of Kalyan Thaat. In this Raag, Re (D) is the wadi note whereas Pa (G) is the samwadi note. Samwadi means next important note to wadi. Most of the Pandits believe that this raag must be started from Dha (A) and it must finish on Sa (C) or Pa (G). In this Raag Ga (E) is also vikar (not played in sequence).

Some Pandits say this Raag is the mixture of Kalyan, Gond, Hameer and Nutt.

Remember Raag Kamod and Chayanat are very close in resemblance, therefore it must be kept in mind that notes Arohi of Kamod will never play (Ga-Na-Pa)

Relevant Raag posts

Raag Kedar Notes and Notation-Indian Music Theory

Raag Hameer-Indian Music theory tips for vocalists

Sud Kalyan Bhoop Kalyan-Indian Music Theory

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