What is equal in Rag Kedar and Kamod?
A. Thaat,
B. Singing Time,
C. Using of Both Madhyam,
D. Jati

Question

What is equal in Rag Kedar and Kamod? 
A. Thaat, 
B. Singing Time, 
C. Using of Both Madhyam, 
D. Jati

Accepted Answer

The correct option is 3:
Raga Kedar and Raga Kamod are two majestic and important ragas within the Hindustani classical tradition, and they share three key defining characteristics. Firstly, they both originate from the **Kalyan Thaat** (A), which is defined by its use of *Tīvra Madhyam* (sharp fourth note) and all other notes as *Shuddha* (natural). Secondly, they belong to the same category of the time cycle theory, falling into the same **Singing Time** (B) known as the *second prahar* of the night, which corresponds to the period immediately following sunset ragas, typically 9 PM to 12 AM. This shared timing makes them *Pratham Prahar Ratri* ragas. Thirdly, both ragas employ the use of **Both Madhyam** (C)—the *Shuddha Ma* is used in passing and in certain phrases, while the *Tīvra Ma* remains the primary and defining fourth note, especially in the upper tetrachord (*Uttarang*). The characteristic *Ma-Pa* to *Ga-Ma-Re-Sa* movement in Kamod and the distinct *Pa-Ma-Ga* to *Ma* in Kedar highlight the subtle but crucial inclusion of *Shuddh Ma* even as their *Thaat* is Kalyan.

The incorrect option is 4:
Option D, **Jati** (the number of notes used in the ascending and descending scales), is the classifying element that is *not* equal for both Ragas, which makes Option 4 (A, B, C, D all) incorrect. While both ragas are *vakra* (circuitous/crooked) and are often grouped by their note count, Raga Kedar is typically classified as **Shadav-Shadav Vakra** (six notes ascending, six descending). Raga Kamod is more definitively classified as **Vakra-Sampurna** (crooked ascent, seven notes descent) or sometimes Shadav-Sampurna *Vakra*. Since the *Jati* refers to the fundamental structure of note inclusion, and these are often different for Kedar and Kamod, they are not considered to have an identical *Jati*. Therefore, despite sharing the Thaat, Singing Time, and use of both Madhyams, the difference in Jati makes the broader option of "all" incorrect.