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:-

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

Arohi:

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

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

Amrohi:

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

Relevant Raag Posts:

Raag Kamod & Raag chayanat Notes-Indian Music Theory

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Raag Gaud Sarang Video

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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.

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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:-

Arohi:

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

Amrohi:
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

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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