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Kambhoji or Kambodhi [1] is a popular Raga in Carnatic Music. It is classified as a derived raga from 28th Melakartha, Harikambhoji, and has existed since the 7th century.
The scale of Kambhoji is also said to have been derived from Cambodia.
Arohana: S R2 G3 M1 P D2 S
Avarohana: S N2 D2 P M1 G3 R2 S (N3 P D2 S)
Usage of "n3" in phrase "npds" makes Kambhoji a bhashanga raga (a raga that includes notes other than what is in the parent raga).
It is a Shadava (6 notes in Arohana) Sampoorna (all 7 notes in Avarohana) raga.
There are numerous references to Raga or Ragini called Kambhoji in ancient Indian musical traditions. Narada's Sangita Makaranda (7th to 8th century AD) broadly classifies Ragas into eight subsets and includes three raginis in each subset. In this scheme of classification, Narada accepts raga Kambhoji as a mode of Shri raga, the first subset of his scheme of classification. [2] Ramaditya, the author of Swara-Mela Kalanidhi (1550 AD) has accepted 20 melas and has accommodated 64 Jana-ragas among the melas. In this scheme of classification, the twentieth mela is Kambhoji under which come the Jana-ragas like Kambhoji. [3] Ragamala of Pundrikavitthala classifies ragas into six divisions with each group having several raginis and ragas imagined to be their spouses and sons. Thus the ragini Kambhoji is assumed to be one among the several spouses of raga Nat-Narayana. [4] Chatravarishach.chhat-Raga Nirupanam authored by Narada (1525-50 AD) lists ten main ragas and accepts the Kambhoji as the spouse of seventh raga called Raga Nata-Narayana. [5] Chaturdandi Prakashika authored by Venkatamakhin (also known as Venkateshwara Dikshit, ~1660 AD) assumes 19 melas and lists the Kambhoji, Kedaragaula and Narayanagaula as the Janya ragas under mela Kambhoji. [6] The Anupa-Sangit-Ratanakar by Sangit Acharya Bhava-Bhata lists 20 ragas as being fundamental ragas. The third raga of his scheme, called Kedar Raga, includes more than a dozen of raginis----the seventh being the well known Kambhoji. [7] Raja Tulaji, the ruler of Tanjore (1763-87 AD) has written a well known book on musicology known as Sangit-Saramritoddhar. Raja Tulaji assumes 21 Janakmelas and includes Kambhoji and Yadukul-Kambhoji as the Jana ragas under the eighth Janaka-mela of his scheme of classification. [8]
Most of the references above are comparatively recent but this should not be taken to mean that raga Kambhoji is also of recent origin. Reference to this raga as Thakkesi is in the ancient Tamil epic Cilappatikaram which is referred by the Sanskrit name kamboji. Brihaddesi authored by Sangit Acharya Matanga Muni (500-700 AD) is the most important work between Natyashastra (2nd century BC) and Sangita Makarand (7th to 8th century AD). [9] Sage Matanga probably hailed from south India. This Brihaddesi work is dated between 5th and 7th century AD but unfortunately it is incomplete. Portions of it appear to have lost down the road. Matanga's Brihaddeshi is the first major and available text to describe the Ragas as we understand them today. Sangit Acharya Matanga informs us that "a classical melody (Raga) can not be composed of four notes or less. But the melodies used by the tribes such as the Sabara, Pulinda, Kamboja, Vanga, Kirata, Vahlika, Andhra, Dravida and the Vanachra (forest dwelling) clans or tribes are an exception which contain four svaras or notes". [10] [11] [12] [13] [14]
Sangita Makaranda also classifies the ragas according to their gender i.e. Male Ragas, Female Ragas (i.e., Raginis) and Neuter Ragas. According to Narada, the Male Ragas depict emotions of Raudra (anger), Veera (heroic) and Bhayanaka (fearful); the Female Ragas represent sentiments of Shringara (romantic and erotic), Hasya (humorous) and Karuna (sorrow); while the Neuter Ragas represent emotions of Vibhatsa (disgustful), Adbhuta (amazement) and Shanta (peaceful).
Each raga is principally dominated by one of these nine rasas or sentiments, although the performer can also bring out other emotions in a less prominent way. The more closely the notes of a raga conform to the expression of one single idea or emotion, the more overwhelming the effect of the raga.
Since the Raga Kambhoji has been classified as Female Raga (i.e., Ragini), this Raga is particularly suitable in conveying the sentiments of Shringara (romantic and erotic), Hasya (humorous) and Karuna (pathos).
There are many compositions set to Kambhoji rāgam, and it is one of the primary ragas in Carnatic music.
A few of these compositions are: (not an exhaustive list below)
Tamil Film song "Aadiya Paadhangal Ambalathil" song from the movie Oorukku Uzhaippavan composed by M. S. Viswanathan is set in Kambhoji Ragam.
Carnatic music, known as Karnāṭaka saṃgīta or Karnāṭaka saṅgītam in the South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Andhra Pradesh, Karnataka, Kerala, Tamil Nadu and Telangana. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda. The other subgenre is Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style.
Hanumatodi, more popularly known as Todi, is a rāgam in Carnatic music. It is the 8th melakarta rāgam in the 72 melakarta rāgam system. This is sung very often in concerts. It is a difficult rāgam to perform in owing to its complexity in prayoga. It is called Janatodi in Muthuswami Dikshitar school of Carnatic music. Its Western equivalent is the Phrygian mode. Todi in Carnatic music is different from Todi (thaat) of Hindustani music. The equivalent of the Hindustani raga Todi in Carnatic music is Shubhapantuvarali. The equivalent of Carnatic Todi in Hindustani is Bhairavi thaat in terms of notes, but the two sound very different due to differing uses of gamakas.
Varṇam is a type of composition in the Carnatic music system that encapsulates the key features of a raga, and considered as a foundational element in the learning path. Varnams capture the essence of the ragam in terms of typical swara patterns used, vishesha prayogas, highlighting the main notes, etc. This forms the basis for creative presentation (manodharma) of the raga in the form of raga aalapana, kalpana swarams and neraval.
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Mayamalavagowla is a raga of Carnatic music. It is classified as 15th melakarta raga under Venkatamakhin's melakarta system. Originally known as malavagowla, "maya" was prefixed to it after the advent of the scheme of the 72 melas. The number 15 was assigned to it following the Katapayadi sankhya system. This is a morning raga.
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Sangita Makaranda is an ancient work on classical music written by Narada. This work is a rare collection of definitions, descriptions and comments on all the essential music by other ancient reputed authors from Bharata Muni to Sharangdeva. Its main feature is the treatment of Ragas; categorizing them as male, female and neuter.
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Ahiri is a rāgam in Carnatic music. It is a janya rāgam, and associated with the 14th melakarta scale Vakulabharanam. It has also been associated with the 8th melakarta scale Hanumatodi. Though it has all the seven swaras in the ascending and descending scale, the presence of zig-zag notes makes it a janya rāgam.
Ramakeri is a rāga belonging to the tradition of Odissi music. Falling under the meḷa Barādi, the raga uses komala rusabha, komala dhaibata and tibra madhyama swaras and is traditionally associated with the karuṇa rasa. The raga is mentioned in treatises such as the Gita Prakasa and Sangita Narayana. This raga has been used by the 12th-century Odia composer Jayadeva in his Gita Govinda.
Baradi is a rāga belonging to the tradition of Odissi music. Falling under the meḷa Barādi, the raga uses komala rusabha, komala dhaibata and tibra madhyama swaras and is traditionally associated with the karuṇa rasa. The raga is mentioned in treatises such as the Gita Prakasa and Sangita Narayana. This raga has been used by the 12th-century Odia composer Jayadeva in his Gita Govinda along with its angaraga Desa Barādi.
Mangala Gujjari is a rāga belonging to the tradition of Odissi music. Falling under the meḷa Karnāta, the raga uses komala rusabha, komala gandhara, komala dhaibata and komala nisada swaras along with their suddha counterparts and is traditionally associated with the karuṇa rasa. The raga is mentioned in treatises such as the Gita Prakasa and Sangita Narayana. This raga is traditionally believed to have been created by Jayadeva in his Gita Govinda.
Debakiri is a rāga belonging to the tradition of Odissi music. Falling under the meḷa Dhanasri, the raga uses komala gandhara and komala nisada swaras and is traditionally associated with the karuṇa and bhakti rasas. The raga is mentioned in treatises such as the Gita Prakasa and Sangita Narayana.
Sri is a rāga belonging to the tradition of Odissi music. Falling under the meḷa of the same name, the raga uses komala nisada swara and is traditionally associated with the melancholic karuna rasa. The raga is mentioned in treatises such as the Gita Prakasa and Sangita Narayana. Among its angaragas, Dhanasri, Bangalasri, Karunasri, Malasri, Madhusri, Dakhinasri are well-known.
