The scale of Kambhoji is Ascending: S R2 G3 M1 P D2 S Descending: S N2 D2 P M1 G3 R2 S Usage of "n3" in phrase "npds" makes Kambhoji a bhashanga raga.
Medieval era
There are numerous references to Raga or Ragini called Kambhoji in ancient Indian musical traditions. Narada's Sangita Makaranda 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 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 lists ten main ragas and accepts the Kambhoji as the spouse of seventh raga called Raga Nata-Narayana. Chaturdandi Prakashika authored by Venkatamakhin 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 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 is the most important work between Natyashastra and Sangita Makarand. 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 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 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 and Neuter Ragas. According to Narada, the Male Ragas depict emotions of Raudra, Veera and Bhayanaka ; the Female Ragas represent sentiments of Shringara, Hasya and Karuna ; while the Neuter Ragas represent emotions of Vibhatsa, Adbhuta and Shanta. 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, this Raga is particularly suitable in conveying the sentiments of Shringara, Hasya and Karuna.
Popular compositions
There are many compositions set to Kambhoji rāgam, and it is one of the primary ragas in Carnatic music.
Devi Ni Padasarasamule by Shyama Sastri
O Rangasayi, Maa Janaki and Evari Mata by Tyagaraja
Kamalambikayai, Shri Subrahmanyaya Namaste and Marakathavallim by Muthuswami Dikshitar
