On Tuesday, October 25, 2016 at 11:58:10 AM UTC-5, [email protected] wrote:

On Friday, January 24, 1992 at 4:57:55 AM UTC+5:30, [email protected] wrote:

I recently bought the Zahiruddin, Wasifuddin Dagar tape released by Music Today under Maestro's Choice. On this tape there is a dhrupad in a raga called
Kambhoji. At first, I thought it would be Khamaj. However, it seemed quite different. Could someone knowledgeable post the details of this raga as far as aaroha, avroha, chalan, pakadh, etc? Before this I had only heard of Kambhoji in Carnatic music.

Arijit.

Arijit,
I still cant find the aaroh and avaroh or information about kambhoji in dhrupad, in its treatment by dhrupad masters it doesnt sound like the carnatic kambhoji to me, can you please write about the raga? Kambhoji in both systems is very majestic and yet
softly appealing at the same time
Prashanti

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The seven most beautiful sounds O-| O |
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Sa,Re,Ga,Ma,Pa,Dha,Ni. | O |
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Arijit Mahalanabis |||||
e-mail: [email protected] |||||
[email protected] |||||
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Hi friends my name is A.T.SHANKAR RAMAN am doing my M.A vocal Final year . Basically am from THANJAVUR . My project is about KAMBOJI raaga , If u have any details about than raaga please send it to me , i collect all details from net , Especially i

want the details about this raaga used in Kathakali , mohiniyattam etc ... can u send any special features about this raaga where not in net .... THANK YOU

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On Thursday, January 23, 1992 at 6:27:55 PM UTC-5, [email protected] wrote:

I recently bought the Zahiruddin, Wasifuddin Dagar tape released by Music Today under Maestro's Choice. On this tape there is a dhrupad in a raga called
Kambhoji. At first, I thought it would be Khamaj. However, it seemed quite different. Could someone knowledgeable post the details of this raga as far as aaroha, avroha, chalan, pakadh, etc? Before this I had only heard of Kambhoji in Carnatic music.

Arijit.

--------------------------------------------------------------------------
_____
The seven most beautiful sounds O-| O |
in life: | |-O
Sa,Re,Ga,Ma,Pa,Dha,Ni. | O |
=====
|||||
|||||
|||||
Arijit Mahalanabis |||||
e-mail: [email protected] |||||
[email protected] |||||
/ ||| \
/ ||| \
| --- |
\_______/

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According to Raganidhi by B.Subba Rao, the ArOha/avarOha for hindustani kAmbhOj is as follows:
S R G P D S / S N D P M G R S (khamAj thAT)
pakaD: g p d s* -*n d p -(m_ g r s. vAdi is g. samvAdi is d. Sung during the second prahArA of the night.
composition: AyE bahAr nOrE (tritAl-madhyalaya)

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On Thursday, June 6, 2019 at 4:36:22 AM UTC+5:30, Lakshman Ragde wrote:

According to Raganidhi by B.Subba Rao, the ArOha/avarOha for hindustani kAmbhOj is as follows:
S R G P D S / S N D P M G R S (khamAj thAT)
pakaD: g p d s* -*n d p -(m_ g r s. vAdi is g. samvAdi is d. Sung during the second prahArA of the night.
composition: AyE bahAr nOrE (tritAl-madhyalaya)

The earlier Kambhoji (Karnatik) / Kamodi (Odissi) / Kambhoj (Hindustani) must have had a pronounced GPDS. Odissi Kamodi retains a strong GPDS but GMPDS is not restricted and is equally important a phrase. It is worth noting that Ahobala's Sangita
Parijata says Kambhoji is SRGPDS. Ahobala was from Karnataka but he was patronised by the Gajapati King of Odisha (the Gajapati ruled over a lot of area beyond Odisha. His epithet mentions Gauda, Karnata, Utkala, Kalabarga, etc), so things he mentions
are sometimes reflective of Karnatik practice and at other times reflective of Odissi practice. All parts of the text are neither applicable to Odissi nor to Karnatik.

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On Saturday, January 25, 1992 at 1:29:22 AM UTC+5:30, P. J. Narayanan wrote:

I have seen Kambhoji used in pallavis in Odissi dance
performances. The scale was similar, if not the same, as above too
though not to my ears. Odissi dance uses many other Carnatic sounding
names for the ragas, such as Sankarabharanam and Bilahari. Does
anyone know of the influence (due to geographical or other reasons)
Carnatic music has had on the Odissi style?

PJN

Hello. I am a vocalist and researcher of Odissi music. The raga is never called 'Kambhoji' in Odissi music ; it is called 'Kamodi' in our tradition. The scale is SRGMPDS/SnDPMGRS - same, but of course there is a world of difference in rendition based on
traditional Odissi compositions in the Raga. (much like the Hindustani interpretation of the scale is vastly different to the Karnatik idiom)

There are several dozens of sub-ragas of Kamodi in Odissi : some of them being Khandakamodi, Kumbhakamodi, Lalita Kamodi, Asa Kamodi, Bichitra Kamodi, etc. They're all unique to Odissi. We Odias love Kamodi, and it is one of the most prominent ragas of
our paddhati.

The names Sankarabharana, Kamodi etc do exist in Odissi - but it isn't Karnatik influence. These are all Sanskrit names. Odisha has always had a Sanskrit culture, much like South India. No wonder the Sanskrit name has been preserved. Hindustani music due
to external influence has renamed certain scales, but Odissi & Karnatik, due to their limited exposure to external music & also a certain puritanical preservationist approach, have retained these earlier names. This is the shared heritage of a pan-Indian
music that preceded all three streams.

You call them 'Karnatik-sounding' - well, that is just because you've been exposed to these names only in your exposure to Karnatik, and even more limited exposure to Odissi music. 'Todi' is another such name - it is found in all three streams of music,
indicating a point in time when it must have been a prominent thing across India. Doesn't mean Hindustani derived Todi from Karnatik or vice versa. If one looks at deep enough, then they each turn out to be special and unique. Hindustani Todi isn't
Odissi Todi isn't Karnatik Thodi.

Hope that helps. :)

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