Odia script | ଚିନ୍ତା କାମୋଦୀ |
---|---|
Melā | Sri |
Jati | Oudaba - Bakra Sampurna |
Badi | Rusabha |
Sambadi | Panchama |
Allied Ragas | Rasa Kamodi |
Chinta Kamodi ( Odia: ଚିନ୍ତା କାମୋଦୀ, romanized: chintā kāmodi) is a rāga belonging to the tradition of Odissi music. [1] [2] [3] Falling under the meḷa Sri, [4] the raga uses both suddha nisada and komala nisada swaras and is traditionally associated with the bhakti rasa. [5] Occasionally, the komala gandhara is employed in a bakra prayoga.
An ancient raga, Chinta Kamodi is accepted as one of the primary melas in Odissi music due to its prominence. It has been used by hundreds of poet-composers for well-over the past many centuries. [6] Its bakra or devious aroha-abaroha are given below:
Aroha: S R M P D S
Abaroha: S N D n D P M G R S
Oṛiśī Sangīta |
Odissi music |
---|
![]() |
Composers |
Shāstras |
Compositions |
Instruments |
Some of the well-known traditional compositions in this raga include:
{{
cite book}}
: CS1 maint: location missing publisher (
link)
Odia script | ଚିନ୍ତା କାମୋଦୀ |
---|---|
Melā | Sri |
Jati | Oudaba - Bakra Sampurna |
Badi | Rusabha |
Sambadi | Panchama |
Allied Ragas | Rasa Kamodi |
Chinta Kamodi ( Odia: ଚିନ୍ତା କାମୋଦୀ, romanized: chintā kāmodi) is a rāga belonging to the tradition of Odissi music. [1] [2] [3] Falling under the meḷa Sri, [4] the raga uses both suddha nisada and komala nisada swaras and is traditionally associated with the bhakti rasa. [5] Occasionally, the komala gandhara is employed in a bakra prayoga.
An ancient raga, Chinta Kamodi is accepted as one of the primary melas in Odissi music due to its prominence. It has been used by hundreds of poet-composers for well-over the past many centuries. [6] Its bakra or devious aroha-abaroha are given below:
Aroha: S R M P D S
Abaroha: S N D n D P M G R S
Oṛiśī Sangīta |
Odissi music |
---|
![]() |
Composers |
Shāstras |
Compositions |
Instruments |
Some of the well-known traditional compositions in this raga include:
{{
cite book}}
: CS1 maint: location missing publisher (
link)