Raga Kamod
It is a fairly well known raga. One can see clear shadows of Malhar Ang, Hameer Ang and Kalyan Ang together with the glimpse of Kedar and Chhayanut. Hence this raga is difficult to render smoothly.
Raga Kamod is raga Deepak's wife i.e, Kamod is ragini.
The origin of this melodious raga is believed to be from Kalyan Thaat. Similar to Kedar, Chhayanat and Hamir, both the mediums are used in this, but the intense medium is used only with Pancham in the mount. Some scholars describe its caste curve as complete or curve Shadav-Shadava . Because there is a curve use of Gandhara and Nishad or some people take Nishad in small quantity and some give it up. Similar to Hamir and Kedar, sometimes Komal Ni is used to enhance the pigmentation of the raga in the descent. There is a lot of rap accompaniment in this raga . While going from Rishabh to Pancham, first of all he comes to Ray with the touch of Meand and then goes to Pancham. There is never any consistency in this. Vaadi Swar PanchamAnd there is Samwadi Rishabh . The singing time is the first prahar of the night. Omkarnath ji says that it should be sung after Kalyan, Bihag, Hamir etc. and before Kedar because 'Sa-ma' vowel accompaniment of Kedar indicates the calm, serious atmosphere of the night, Sa Sa-ma's vowels remain hair in the night. And as the night progresses, Rishabh Pancham will become less and eventually disappear and Gandhara, Dhaivat and Nishad will lose their intensity and become soft.
G m P G m R S is known as Kamod Ang. Rishabh-Pancham Sangati and the notes G m P G m R S are raga Vachak. The use of Teevra Madhyam like M P D P may sometimes be skipped and G m D P may also be used. This dynamic melody is rather complex as may be clear from the following illustrative combinations of this raga.
S m R P (Malhar Ang); R R P G m P G m R S (Kamod Ang); M P D P (Kedar Ang) ; G m D D P (Hameer Ang); G m P G m R S (Kamod Ang); P D P S' S' R' S' (Chhayanut Ang); S' R' S' S' D D P (Kalyan Ang) ; M P D M P ; G m P G m R S ;
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