This idea of the blogpost on two sets of raags is divided in two parts. The common feature of these two parts is that the two raags in the group claim same set of swar (notes) but differ in their gait and invocation of notes, giving them a different personality.
In the first part I begin with the group of notes that form Kamod, Shyam Kalyan canvas.
Kamod : Shyam Kalyan
These two raags have the same set of notes but the way they are presented makes a huge difference. Something similar to Todi and Multani, Bhoop and Deskar, Puriya-Marwa and Sohoni. In my opinion these groups of raags highlight the most distinguishing part of Hindustani Classical Music; Same notes sound different when approached and presented differently, produce different emotions and have distinct "Bhaav" and "Ras"
As Parrikar has rightly put about the "intellectual artistic" nature of Hindustani Classical Music
"It is hard to convey Kamod’s spirit through the written medium. The gestalt is best imbibed through study and by listening to classic renditions of the past masters. Such ragas have very little basis in scales. Among the deleterious habits to have come to nest in the realm of Hindustani pedagogy is the urge to pigeonhole ragas into an aroha-avaroha set, then tack on the vadi-samvadi pair, a pakkad phrase, and then presume that one has successfully described the raga. The aroha-avaroha set is an ex post facto construct that ought not to be the starting point of inquiry."
Kamod and Shyam Kalyan clearly seem to be having strands of Hameer, Kedar, Shuddha-Malhar (Durga) and Kalyan woven together. While having both the "Madhyams", Pancham is the most important note (swar) of raag Kamod and all the slides and glides rotate around it. That distinguishes it from the Shyam Kalyan where teevra Madhyam overshadows the Pancham.
Kamod is a favorite of Patiala gharana. Here are some renditions of the great Ut Bade Gulam Ali Khan, Pt D V Paluskar.
Chand de moraa : Ut Bade Gulam Ali Khan of Kasur Patiala Gharana
Pt D V Paluskar of Gwalior gharana presents Kamod (1960 AIR)
Shyam Kalyan has both the "Madhyams", teevra Madhyam occupies the center around which raag Shyam Kalyan rotates (Hence Kalyan), making the Pancham play a second fiddle. This is the most distinguishing factor of Shyam Kalyan. In addition, the character of Shyam Kalyan lies in the slide from teevra Madhyam to Rishabh. (M-->R)
Here are two renditions of Shyam Kalyan by two stars and torch bearers. Savani Shende of Gwalior gharana and "Princess of Patiala Gharana" .. Kaushiki Chakravarty.
Savani Shende of Gwalior presents Shyam Kalyan in Gwalior style with Tarana
The Princess of Patiala gharana Kaushiki Chakravarty presents Shyam Kalyan in Patiala style with Sargams
The duo of Banaras, Pt Rajan-Sajan Mishra provides a classic rendition of both Shyam Kalyan and Kamod! That would summarize the differences between the two raags.
Pt Rajan Sajan Mishra : Kamod - Ritu Basant sakhee moh man bhaavat !
Shyam Kalyan by the Banaras Duo: Un sang laagi lagan mori !
Here is my (continuously updated) playlist of Kamod and Shyam Kalyan