As suggested by the name, this raga is a compound of ragas Tilak and Kaamod. Tilak is a rarity now and partly exists in ragas like Tilak Kaamod or Tilak Shyam; but Kaamod is a popular raga. So is this beautiful raga that boasts of an enticing vakra (meandering) movement.
Thhaat (parent scale)
Khamaaj; Bilaawal according to some
Jaati:
Vakra-Sampoorn (deviously heptatonic)
Vaadi:
Rishabh (R)
Samvaadi:
Pancham (P)
Swaras:
All shuddh swaras, several swaras arrive displaying meandering gait
Aaroh (ascent):
S R G S, R M P D M P S’ (Western Notes: C D E C, D F G A F G C’)
Avaroh (descent):
S’ P D M G, S R G S N. (Western Notes: C’ G A F E, C D E C A#)
Key phrases:
P.N.S R G S, R P, M R P, R P M G, S R G S, R M P D M G, R M P N S’R’G’S’, S’P D M G, R G S N.
Time:
Midnight
A twin of raga Desh, this raga asserts itself by closing its phrases at the Shuddh Nishaad (N.) of the lower octave. Interestingly, Nishaad remains almost silent in the middle octave and becomes vocal only when a linear phrase crosses over to the upper octave as in SRMPNS’R’G’S’. The gliding descent from the upper tonic to Pancham (P) is another important note-combination which sets it apart. The frequent twists and turns give it a light character. Tilak Kaamod, like Desh, is a sweet melody, suited for romantic mood.
Bibliography
1. Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
2. The Oxford Encyclopaedia of the Music of India
3. The Raga-ness of the Ragas by Deepak Raja
Audio Links:
1. Pandit D V Paluskar (vocal)
2. Ustad Vilayat Khan (sitar)
3. Ustad Sharafat Hussain Khan (vocal)
4. Pandit Buddhadev Dasgupta (sarod)
5. Sisirkana Dhar Chowdhury (violin)
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