Kambhoji
Kambhoji or Kambodhi is a popular Raga in Carnatic Music. It is classified as a derived raga from 28th Melakartha, Harikambhoji. Scale. The scale of Kambhoji is Ascending: S R2 G3 M1 P D2 S Descending: S N2 D2 P M1 G3 R2 S (N3 P D2 S) Usage of "n3" in phrase "npds" makes Kambhoji a bhashanga raga (a raga that includes notes other than what is in the parent raga). Medieval era. There are numerous references to Raga or Ragini called Kambhoji in ancient Indian musical traditions. Narada's "Sangita Makaranda" (7th to 8th century AD) broadly  classifies Ragas into eight subsets and includes three raginis in each subset. In this scheme of classification, Narada accepts raga Kambhoji as a mode of "Shri raga", the first subset of his scheme of classification. Ramaditya, the author of "Swara-Mela Kalanidhi" (1550 AD) has accepted 20 "melas" and has accommodated 64 "Jana-ragas" among the "melas". In this scheme of classification, the twentieth mela is Kambhoji under which come the Jana-ragas like Kambhoji. "Ragamala" of Pundrikavitthala classifies ragas into six divisions with each group having several raginis and ragas imagined to be their spouses and sons. Thus the  ragini Kambhoji is assumed to be one among the several spouses of raga "Nat-Narayana". "Chatravarishach.chhat-Raga Nirupanam" authored by Narada (1525-50 AD) lists ten main ragas and accepts the Kambhoji as the spouse of seventh raga called "Raga Nata-Narayana". "Chaturdandi Prakashika" authored by Venkatamakhin (also known as Venkateshwara Dikshit, ~1660 AD) assumes 19 melas and lists the Kambhoji, Kedaragaula and Narayanagaula as the Janya ragas under mela Kambhoji. The "Anupa-Sangit-Ratanakar" by Sangit Acharya Bhava-Bhata lists 20 ragas as being fundamental ragas. The third raga of his scheme, called Kedar Raga, includes more than a  dozen of raginis----the seventh being the well known Kambhoji. Raja Tulaji, the ruler of Tanjore (1763-87 AD) has written a well known book on musicology known as "Sangit-Saramritoddhar". Raja Tulaji assumes 21 Janakmelas and includes Kambhoji and Yadukul-Kambhoji as the "Jana ragas" under the eighth "Janaka-mela" of his scheme of classification. Matanga’s ancient reference to raga Kamboji. Most of the references above are comparatively recent but this should not be taken to mean that raga Kambhoji is also of recent origin. Reference to this raga as Thakkesi is in the ancient Tamil epic Cilappatikaram which  is referred by the Sanskrit name kamboji. "Brihaddesi" authored by Sangit Acharya Matanga Muni (500-700 AD) is the most important work between "Natyashastra" (2nd century BC) and "Sangita Makarand" (7th to 8th century AD). Sage Matanga probably hailed from south India. This Brihaddesi work is dated between 5th and 7th century AD but unfortunately it is incomplete. Portions of it appear to have lost down the road. Matanga's Brihaddeshi is the first major and available text to describe the Ragas as we understand them today. Sangit Acharya Matanga informs us that "a classical melody (Raga) can not be  composed of four notes or less. But the melodies used by the tribes such as the Sabara, Pulinda, Kamboja, Vanga, Kirata, Vahlika, Andhra, Dravida and the "Vanachra" (forest dwelling) clans or tribes are an exception which contain four svaras or notes". Classification according to gender. Sangita Makaranda also classifies the ragas according to their gender i.e. Male Ragas, Female Ragas (i.e., Raginis) and Neuter Ragas. According to Narada, the Male Ragas depict emotions of Raudra (anger), Veera (heroic) and Bhayanaka (fearful); the Female Ragas represent sentiments of Shringara (romantic and erotic), Hasya (humorous) and Karuna (sorrow); while the Neuter Ragas  represent emotions of Vibhatsa (disgustful), Adbhuta (amazement) and Shanta (peaceful). Each raga is principally dominated by one of these nine rasas or sentiments, although the performer can also bring out other emotions in a less prominent way. The more closely the notes of a raga conform to the expression of one single idea or emotion, the more overwhelming the effect of the raga. Since the Raga Kambhoji has been classified as Female Raga (i.e., Ragini), this Raga is particularly suitable in conveying the sentiments of Shringara (romantic and erotic), Hasya (humorous) and Karuna (pathos). Popular compositions. There are many compositions  set to Kambhoji rāgam, and it is one of the primary ragas in Carnatic music. Tamil Film song "Aadiya Paadhangal Ambalathil" song from the movie Oorukku Uzhaippavan composed by M. S. Viswanathan is set in Kambhoji Ragam.