Description
The structure of Tilak Kamod is quite pleasant. Some musicians maintain that the vadi is Sa and the samvadi is Pa. Others claim that Re is the vadi. It is Shadav-Sampurna due to the omission of Dha in the arohana. It is performed in the second part of the night.
This rag is usually attributed to Khammaj That. However, most subtraditions within Northern India show a conspicuous absence of any Komal Ni. Its structure places it squarely in Bilawal that. It is with great reluctance that we bow to tradition and place this in Khammaj that.
Arohana
(general discussion of arohana) – (general discussion of notation)
Avarohana
(general discussion of avarohana)
Jati
Shadav – Sampurna – (general discussion of jati)
Vadi
Disputed – (general discussion of vadi)
Samvadi
Disputed – (general discussion of samvadi)
Time
9:00pm – midnight (Second part of the night) – (general discussion of time and rag)
That
Khammaj That (by tradition), Bilawal That (de facto) – (general discussion of that)
Pakad
Drone
Sa – Pa – (general discussion of drone)
Popular Songs
For more information check out “Elementary North Indian Vocal: Vol 1” and “Elementary North Indian Vocal: Vol 2”
Selected Video
Other Sites of Interest
Indian Classical Music: Tuning and Ragas
Modes and Ragas: More Than just a Scale
Emotional responses to Hindustani Raga music: The role of musical structure
Automatic Raga Recognition in Hindustani Classical Music
Patrick Moutal. A Comparative Study of Selected Hindustānī Rāga-s based on Contemporary Practice
Automatic Tonic Identification in Indian Art Music: Approaches and Evaluation