| Swar | Gandhar and Dhaivat Varjya in Aaroh. Rare use of Komal Nishad in Avroh. Rest all Shuddha Swaras. |
| Jati | Audhav - Sampurna Vakra |
| Thaat | Khamaj |
| Vadi - Samvadi | Shadj - Pancham |
| Time | 2nd Prahar of the Night (9PM to 12AM) |
| Vishranti Sthan | ,N P S' - S' G S; |
| Mukhya Ang | ,P ,N S R G S ; R P m G ; S R G S ,N ; S R m P S’ ; S’ R’ G’ S’ ; S’ P D m G ; S R m G ; S R G S ,N ; |
| Aaroh - Avroh | ,P ,N S R G S ; S R m P N S’ - S’ P D m G S R G S ,N ,P ,N S R G S |
Raag Tilak Kamod is a very melodious Raag. Though the name of the Raag is Tilak Kamod, this Raag has no similarities to Raag Kamod. The notes of this Raag are similar to those of Raag Des, but the way it is rendered is very different, which creates a completely different atmosphere.
In Raag Tilak Kamod, Mandra Nishad is a very important resting note (nyas swar), which identifies this Raag. Also, in Avroh, gandhar is used as a resting note (where as in Raag Des, Rishabh is used as a resting note).
The poorvang of this Raag is elaborated as – ,P ,N S R G S ,N ; S R P m G ; S R G S ,N ; – where Gandhar and Nishad are Resting Notes. In Avroh, while coming from Gandhar to Shadj, Rishabh is often skipped. In Aaroh one can spot Rishabh-Pancham (R-P) sangati. In Uttarang, the notes pattern S R m P N S’ ; S’ s P ; D m G ; S R G S ,N ; resembles the pattern in Raag Des, but in Tilak Kamod, Nishad is not elongated. Also, Nishad is sometimes skipped, like – S R m P D ; m P S’ ;
In Avroh, S’ P D m G – are Raag Vachak Notes. In Avroh, Komal Nishad is sometimes rarely used like – S’ P n D m G ; or P n D P ; D m G ; S R G S ,n ;
Also, in Avroh, the use of Rishabh is as follows – When the ending note of an Aalap is Nishad then Rishabh is not used but when the ending note is Shadj then Rishabh is used as a Kan Swar. like – P m G S R G S ,N ; P m G S R G (R) S; While rendering a Drut Taan, a straight, S’ N D P m G R S (with all Shuddha Notes) may be taken.
Raag Tilak Kamod is suitable for singing Khyal, Tarana, Thumri, Hori, Geet, Ghazal alike. Also, this Raag is able to show the Shringar Ras, Karun Ras or Bhakti Ras alike. This Raag is particularly sung in Rainy season.
Raag Tilak Kamod Bandishen
All the following bandishen are written and composed by Acharya Vishwanath Rao Ringe ‘Tanarang’ and are published in his new book “Acharya Tanarang Ki Bandishen Vol 3”. This book contains the notation and audio of 440 Bandishen from 28 Raags. All these bandishen are sung by Shri Prakash Vishwanath Ringe. For more information and to buy this book, please contact us.
1 | Madhya Lay Khyal/Thumri - Ab Ki Saawan Ghar Aa Ja Rasiya Taal - Trital Madhya Lay Theme - Virah Ras | |
2 | Madhya Lay Khyal/Thumri - Jaadugar Baalma Re Taal - Trital Madhya Lay Theme - Virah Ras | |
3 | Chota Khyal - Baalam Naahi Aaye Gharwa Taal - Trital Drut Theme - Virah Ras | |
4 | Chota Khyal - Bhaj Mana Gopal Radhe Taal - Trital Drut Theme - Shri Krishna - Bhakti Ras | |
5 | Chota Khyal - Binti Suno Giridhari Taal - Trital Drut Theme - Shri Krishna - Gopiyon se Chedchad | |
6 | Chota Khyal - Mora Man Naahi Laage Taal - Trital Drut Theme - Virah Ras | |
7 | Chota Khyal - Nain Neer Jhar Laagi Taal - Ektal Drut Theme - Virah Ras | |
8 | Chota Khyal - Natkhat Tanarang Jhoolen Taal - Trital Drut Theme - Shri Krishna - Jhoola | |
9 | Chota Khyal - Aaye Na Baalam Raat Bhar Ho Taal - Trital Drut Theme - Virah Ras | |
10 | Chota Khyal - Mand Mand Jhoole Kanhaai Taal - Trital Drut Theme - Shri Krishna - Jhoola | |
11 | Chota Khyal - Moh Leeno Man Mora Taal - Ektal Drut Theme - Shringar Ras | |
12 | Chota Khyal - Anupam Roop Madan Lakh Laajat Taal - Trital Drut Theme - Shri Krishna - Mahima Varnan | |
13 | Chota Khyal - Kaise Bharun Jamuna Neer Taal - Ektal Drut Theme - Shri Krishna - Gopiyon se Chedchad | |
14 | Chota Khyal - Kalan Aaye Din Ghadi Pal Chin Taal - Trital Drut Theme - Virah Ras | |
15 | Chota Khyal - Joban Madmaati Gujariya Taal - Trital Drut Theme - Shringar Ras | |
16 | Sargam - Pa Ni Sa Re Ga Sa Taal - Trital Drut |