Kāmbhōji
Janya of Harikāmbhōji (28)
Royal, dignified
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Ārōhaṇa (ascending)
- S
- R₂
- G₃
- M₁
- P
- D₂
Avarōhaṇa (descending)
- N₂
- D₂
- P
- M₁
- G₃
- R₂
- S
Signature phrase
S R₂ G₃ M₁ P D₂ Ṡ
The pakad (catch-phrase) is the 4-8 svara motif that defines this raga's identity. Internalise this phrase first — it's what your ear reaches for when the raga returns to its home base.
Rāga grammar
- Vādi (king svara)
- P
- Samvādi (queen svara)
- R₂
- Jīva (life-giving)
- G₃ P D₂
- Nyāsa (resting)
- S G₃ P
- Graha (phrase-starting)
- S R₂ G₃ P
When to play
The raga for utsava-sampradāya (temple-festival style) compositions and bhakti bhajans. Best in the second-half of a concert as a refreshing contrast to heavy alapana ragas.
Gamaka signature
Distinctive oscillation on D₂ and the 'Kāmbhōji dātus' — phrases like D P / D M / P D / M P D. The Ni₃ is oscillated against D₂; the G₃ is held straight.
Historical context
Named for the ancient Kāmbhōja (Cambodia) kingdom — one of the rare ragas with a geographic name preserved from early Sangita literature. Hosts utsava-prabandha kritis of Tyāgarāja (Dākṣiṇāmutha, Enthātho) and several Muttiah Bhagavatar compositions. The Hindustani equivalent is Khamaj.
Key compositions to hear first
- Enthātho Rāma — Tyāgarāja (Utsava)
- Dākṣiṇāmutha — Tyāgarāja (Utsava)
- Śobhanambā — Muttuswāmi Dīkṣitar
Listen to Kāmbhōji
Arōhaṇa-avarōhaṇa exposition with tampura drone.
Kṛtis in this rāga· 11 entries across 8 composers
TyāgarājaCarnatic Trinity (Tri-mūrti) — the foundational period · 2 kṛtis
- Mā Janaki · Ādi Tāla · 84 BPM
- Mari Mari Ninne · Ādi Tāla · 82 BPM
Muttuswāmi DīkṣitarCarnatic Trinity (Tri-mūrti) — the foundational period · 2 kṛtis
- Śrī Subrahmaṇyāya · Rūpaka Tāla · 60 BPM
- Kamalāmbāyāḥ Paraṃ · Aṭa Tāla · 48 BPM
Purandara DāsaPre-Trinity — Karnataka Saṅgīta Pitāmaha · 1 kṛti
- Jagadoddhāraṇa · Ādi Tāla · 120 BPM
AnnamācāryaPre-Trinity — Tallapaka composer of Tirumala · 1 kṛti
- Nadaci Nadaci · Ādi Tāla · 125 BPM
Pāpanāsam ŚivanPost-Trinity — Tamil Tyāgarāja · 2 kṛtis
- Sarasijanābha · Ādi Tāla · 115 BPM
- Enna Thavam · Ādi Tāla · 110 BPM
Mysore VāsudēvācārPost-Trinity — Mysore court composer · 1 kṛti
- Kāpi Ninne Kori · Ādi Tāla · 115 BPM
Paṭṭnam Subramaṇiya IyerPost-Trinity — The Tiger of Music · 1 kṛti
- Mari Vērē Dikkevarayya · Ādi Tāla · 108 BPM
Harikēśanallur Muttiah BhagavatarPost-Trinity — Creator of Hamsadhvani · 1 kṛti
- Cintanastikimayya · Ādi Tāla · 112 BPM
Tip: open the raga × composer cross-search on /composers to explore any other raga.
Sangeet Parijat — Ahobala's notes
- Graha (opening)
- Sa
- Aṁśa (king svara)
- Pa
- Nyāsa (rest svara)
- Sa
- Time
- After 2nd prahara
- Gīti
- Sādhāraṇī
- Gamaka
- kampita
An ancient grama-raga form. Bhāṣānga gandhāra appears in descent.
Similar ragas
Top 5 by mūrchhanā + aṁśa + nyāsa + graha + gītī overlap. Match score shown.
- deshG SaA PaN SaSādhāraṇī100%
- HarikāmbhōjiG SaA PaN SaSādhāraṇī100%
- kambodiG SaA PaN SaSādhāraṇī100%
- CakravākamG SaA GaN SaSādhāraṇī80%
- CārukēśīG SaA GaN SaSādhāraṇī80%