Tilak Kamod is a

Hindustani classical Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, ''shastriya sangeet'' (). It is played in instruments like the violin, sita ...

raga A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. The ''rāga'' is a unique and central feature of the classical Indian music tradit ...

Origin

The raga emerges from

Khamaj Khamaj () is a Hindustani classical Music raga within the Khamaj thaat which is named after it. Many ghazals and thumris are based on Khamaj. It utilises the shuddha (pure) form of Ni on the ascent, and the komala (flat) form of Ni on the desce ...

thaat A Thaat () is a "Parent scale" in North Indian or Hindustani music. It is the Hindustani equivalent of the term ''Melakartha raga'' of Carnatic Music. The concept of the ''thaat'' is not exactly equivalent to the western musical scale because t ...

Technical description

The raga is of Shadava-Sampoorna nature, i.e., in its

arohana Arohana, Arohanam or Aroha, in the context of Indian classical music, is the ascending scale of notes in a raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The pitch increases as we ...

(ascent) six notes are used (D is excluded), whereas the

avarohana An Avarohana, Avarohanam or Avaroha, in the context of Indian classical music, is the descending scale of any raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The notes descend in pitch ...

(descent) uses All seven notes. All the swaras used in this raga are shuddha except for N which is sometimes komal (n). The usage of komal (n) brings in the characteristics of

. However, shuddha N in the

is quite frequently used in north Indian style of performing this raga. Arohana: 'Sa Re Ga Ma Pa Ni Sa' . Avarohana: Sa' Pa Dha Ma Ga Sa Re Ga Sa 'Ni 'Pa 'Ni Sa Re Ga Sa .

Pakad In Hindustani music, a ''pakad'' (Hindi: पकड़) is a generally accepted musical phrase (or set of phrases) thought to encapsulate the essence of a particular raga. The pakad contains the melodic theme of the raga, on listening to the paka ...

:'Pa 'Ni Sa Re Ga Sa Re Pa Ma Ga Sa 'Ni The vadi swar is Re, and the

samvadi The Samavadi is the second-most prominent (though not necessarily second-most played) note of a raga in Indian classical music. The primary note of the raga is the '' vadi''; the vadi and samvadi are in most cases a fourth or fifth apart. A ' ...

is Pa .

Samay (Time)

The raga is to be sung during the second quarter of the night (dwitiya prahar).

Further information

It is a very melodious raga, and whereas heavy classical genres like

Khyal Khyal or Khayal (ख़याल / خیال) is a major form of Hindustani classical music in the Indian subcontinent. Its name comes from a Persian/Arabic word meaning "imagination". Khyal is associated with romantic poetry, and allows the perfor ...

s are often based on this raga, light classical genres are more popular in Tilak Kamod. Rarely, a tinge of Komal Ni is also used in this raga. The raga is very close to ragas like Desh, and hence requires a skilful rendition for the differences to be distinct to the listener.

External links

SRA on Samay and Ragas

Sarod performance by Arnab Chakrabarty
{{Authority control Hindustani ragas