Khamas (raga)

Khamas^[1][2] or Kamās/ Khamās /Khamāch/ Khamāj / Kamāchi (கமாச்) (ఖమాస్/కమాచి) is a rāgam in Carnatic music (musical scale of South Indian classical music). It is a janya rāgam (derived scale) from the 28th melakarta scale Harikambhoji. It is a janya scale, as it does not have all the seven swaras (musical notes) in the ascending scale.

It is a scale that evokes Shringara rasa.^[1][2] It is suitable for javali type compositions.^[2]

Khamas is an asymmetric rāgam that does not contain rishabham in the ascending scale. It is a vakra-shadava-sampurna rāgam (vakra-shadava, meaning 6 notes in ascending scale with zig-zag moves).^[1][2] Its ārohaṇa-avarohaṇa structure (ascending and descending scale) is as follows:

• ārohaṇa : S M₁ G₃ M₁ P D₂ N₂ Ṡ^[a]
• avarohaṇa : Ṡ N₂ D₂ P M₁ G₃ R₂ S^[b]

The notes used in this scale are shadjam, antara gandharam, shuddha madhyamam, panchamam, chathusruthi dhaivatam and kaisiki nishadham in ascending scale, with chathusruthi rishabham included in descending scale. For the details of the notations and terms, see swaras in Carnatic music.

Originally, Khamas was an upanga raga (uses only the notes in the parent scale). Later with the usage in javalis and other later compositions, the bhashanga type of Khamas came into use (using notes external to the scale).^[1] Kakali nishadam (N3) is introduced as anya swara (external note) occasionally.^[1]

According to Muthuswami Dikshitar school of music, Khamas is a sampurna raga with no zig-zag notes (no vakra usage).^[1][2]

Khamāj (खमाज) of Hindustani Music closely resembles Khamas raga. The Hindi film song ‘Tere Mere Milan Ki’ from the movie Abhimaan is based on Khamaj.^[3]

There are many compositions set to Khamas Raga. Here are some popular Kritis, Thillanas, Varnams, Swarajatis, Padams and Javalis composed in this Raga.

• Sambhashiva(Swarajati) by Chinnikrishna Dasar
• Edho Paramukham(Swarajati) by Ponniah Pillai of the Tanjore Quartet
• Mate Malaya-dhvaja pandya-sanjate(Daruvarnam) by Muthiah Bhagavatar
• Samiyai Azhaittu Vaadi(Padavarnam) and Sami Ni Rammanave(Padavarnam) by Ponniah Pillai of the Thanjavur Quartet
• Entaninne(Padavarnam) by Subbarama Dikshitar
• Sa vama rusha yatu(Padavarnam), Sarasa-sama-mukha(Krithi), Sreesha Padmanabha Pahi(Krithi) and Palayamamayi bho shrikanthesha(Krithi) by Maharaja Swathi Thirunal
• Velanai Kaanbom (Padavarnam) an Velanai Ninainthal(Krithi) by Muthuswami Kavi
• Vesariti Neeve(Padavarnam) by Dr. M. Balamuralikrishna
• Ma Mohalahiri(Padavarnam) by Kadigal Namachivaaya Pulavar
• Santanagopala Krishnam, Shadanane Sakalamarpayami, Sri Swaminathaya Namaste and Sarasa Dala Nayana by Muthuswami Dikshitar
• Sujana Jeevana, Laali Laaliyani and Seethapathe composed by Tyagaraja
• Manasa Ramuni Maravakave by Venkataramana Bhagavathar
• Dooru Maduvarene, Mooruthiyanu Niliso By Purandara Dasa
• Theruvil Varano(Padam) by Muthu Thandavar
• Maatada Baradeno(Jaavali) By Bangalore Nagarathnamma
• Aapaduraku (Jaavali) By Pattbhiramayya
• Rama Jogi Mandu, Ivela Nannu Brovara and Rama Rara by Bhadrachala Ramadasu
• Brochevaarevarura, Upendram Ashrayami Santatam and Intha Paraakaelanayya by Mysore Vasudevachar, whose use of N3 in his compositions in this raga is particularly noteworthy.
• Idathu Padam Thookki, Thiruvalar Mayilaiyin and Rama Naamaamrutha by Papanasam Sivan
• Tillana by Patnam Subramania Iyer
• Tillana by Dr. Lalgudi Jayaraman
• Dholayam Chala Dholayam Chala by Annamacharya
• Shambho Mahadeva Chandrachuda by Palghat Parameswara Bhagavathar
• Saraswati Sarasa-vani Sarasija-bhavunikki-rani by M. D. Ramanathan
• Jayati Jayati Bharata Mata by Mayuram Vishvanatha shastri