External links
Ragas as per performance time | |
|---|---|
| Morning | |
| Afternoon | |
| Evening | |
| Night | |
| Anytime | |
| Season | |
| Thaat | Khamaj |
|---|---|
| Time of day | Late night, 12–3 |
| Arohana | 'P 'N S R G S R M P N S' |
| Avarohana | S' P D M G S R G S 'N 'P 'N S R G S |
| Pakad | 'P 'N S R G S R P M G S 'N |
| Vadi | R |
| Samavadi | P |
| Similar | Desh |
| Hindustani classical music |
|---|
| Concepts |
| Genres |
| Thaats |
Tilak Kamod is a Hindustani classical raga.
The raga is of Shadava-Sampoorna nature, i.e., in its arohana (ascent) six notes are used (D is excluded), whereas the avarohana (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 Khamaj thaat. However, shuddha N in the avarohana is quite frequently used in north Indian style of performing this raga.
Arohana: 'P 'N S R G S R M P N S' .
Avarohana: Sa' Pa Dha Ma Ga Sa Re Ga Sa 'Ni 'Pa 'Ni Sa Re Ga Sa .
Pakad:'Pa 'Ni Sa Re Ga Sa Re Pa Ma Ga Sa 'Ni
The raga is to be sung during the second quarter of the night (dwitiya prahar).
It is a very melodious raga, and whereas heavy classical genres like Khyals 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.
| Song | Movie | Composer | Singers |
|---|---|---|---|
| Badariya Baras Gayi Us Paar | Moorti(1945) | Bulo C Rani | Mukesh (singer) & Khursheed Bano & Hamida Banu (singer) |
| Hiya Jarat Rahat Din Rain | Godaan | Ravi Shankar | Mukesh (singer) |
| Teri Yaad Dil Se Bhulane | Hariyali Aur Rasta | Shankar–Jaikishan | Mukesh (singer) |
| Ho Gaye Do Rooj | Pyaar Ka Saagar | Ravi (composer) | Mukesh (singer) |
| Tumhare Bin Ji Na Lage Gharmen | Bhumika (film) | Vanraj Bhatia | Preeti Sagar |
| Hamne Tujhko Pyar Kiya Hai Jitna | Dulha Dulhan | Kalyanji–Anandji | Mukesh (singer) |
| Mujhe Mil Gayi Hai Mohabat | First Love(1961 film) | Dattaram Wadkar | Mukesh (singer) |
| Chali Re Chali Re Mai To Des Paraye | Saranga (1961 film) | Sardar Malik | Asha Bhosle |
| Tilak Kamod | Khuda Kay Liye | Ahmed Jahanzeb | Ahmed Jahanzeb |
| Aaoge Jab Tum | Jab We Met | Sandesh Shandilya | Rashid Khan (musician) |
| Song | Movie | Composer | Singers |
|---|---|---|---|
| Veena Padave Ragamayi | Sita Rama Kalyanam (1961 film) | Gali Penchala Narasimha Rao | P. Susheela |
| Theliyani Aanandham | Mangalya Balam | Master Venu | P. Susheela |
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 the primary function of a thaat is not as a tool for music composition, but rather as a basis for classification of ragas. There is not necessarily strict compliance between a raga and its parent thaat; a raga said to 'belong' to a certain thaat need not allow all the notes of the thaat, and might allow other notes. Thaats are generally accepted to be heptatonic by definition.
Bilaval or Bilawal is a raga and the basis for the eponymous thaat in Hindustani classical music. Raga Bilaval is named after Veraval, Gujarat.
Devagandhari is a raga in Indian classical music. In carnatic classical music, Devagandhari is a janya raga, whose melakarta raga is Shankarabharanam, 29th in the 72 Melakarta raga system. This is not to be confused with Karnataka Devagandhari, which is a janya of Kharaharapriya similar to Abheri.
Raga Malgunji is a Hindustani classical raga from the Khamaj Thaat. Some say it is a part of the Kafi Thaat too.
Darbari Kanada, or simply Raga Darbari, is a raga in Carnatic music. It is a janya ragam of 20th Melakarta raga Natabhairavi. Being an ancient raga, its original name is unknown. It is believed to be borrowed into Hindustani classical music by Miyan Tansen, the famous 16th-century composer in emperor Akbar's court. It belongs to the Kanada family. This tradition is reflected in the name itself; Darbar is the Persian derived word in Hindi meaning "court." As the most familiar raga in the Kanada family, it may sometimes also be called Shuddha Kanada or pure Kanada. It belongs to the Asavari thaat. This raag is called raaga Kaanada in Yakshagana Karnataka state dance. It is also sometimes written as Durbari and Durbarikanada.
Bhairavi is a Hindustani Classical heptatonic (Sampurna) raga of Bhairavi thaat. In Western musical terms, raga Bhairavi employs the notes of the Phrygian mode, one of the traditional European church modes.
Bibhas is a Hindustani classical raga.
Brindaavani Sarang or Brindaabani Sarang, also known as raga Sarang, is a Hindustani classical raga. It is also called Vridaavani Sarang. This raga falls under the category of Sarang ragas.
'Madhukali' is a Hindustani classical raga.
Jog is a Raga in Hindustani classical music. It is one of the more popular ragas appearing often in films. Sometimes, experts assign this raga to be a member of Kafi thaat.
Miyan ki Todi, often simply referred to as Todi or Darbari Todi, is a Hindustani classical raga which gave its name to the Todi thaat, one of the ten types of classical music according to the musicologist Bhatkhande. Ragas from the Todi raganga include Todi itself, Bilaskhani Todi, Gujari Todi, Desi Todi, Hussaini Todi, Asavari Todi, and Bahaduri Todi.
Harikambhoji is a rāgam in Carnatic music. It is the 28th Melakarta rāgam in the 72 melakarta rāgam system.
Sriranjani is a ragam in Carnatic music. It is a hexatonic scale. It is a derived scale, as it does not have all the seven swaras. It is also written as Shri ranjani or Shree Ranjani. It also exist in Hindustani music, with a different scale. Aroh: Sa, komal Ga, Ma, Dha, komal Ni, Sa; Avroh: Sa, komal Ni, Dha, Ma, komal Ga, Ré, Sa.
Kalavati or Kalawati is a modern pentatonic Hindustani classical raga. Svaras Re and Ma are strictly omitted (Varjya/Varjit). Kalavati belongs to the Khamaj Thaat.
Raga Kedar, also known as Kedara, is a Hindustani classical raga. Named after Lord Shiva, the raga occupies a high pedestal in Indian classical music. It is characterised by many melodious turns. This raga is the repetition of the swaras सा and म. It is generally accepted that it displays much thermal energy and is regarded as the Raagini of Raag Deepak. While preceding from Shuddha Madhyam (m) to Pancham (P), a touch of Gandhar (G) or a smooth passage from Gandhar (G) to Pancham (P) expressed as m G P is the more common way of instant raga manifestation.
Desh or Des is a Hindustani classical music raga which belongs to the Khamaj thaat. This raga is very similar to raga Khamaj.
Hindol is a Hindustani classical raga from the Kalyan Thaat.
Jaijaivanti or Jaijaiwanti is a Hindustani classical raga belonging to Khamaj Thaat. According to the Guru Granth Sahib, this raga is a mixture of two others: Bilaval and Sorath. The raga appears in the latter section in Gurbani, as only four hymns were composed by Guru Tegh Bahadur, the ninth Sikh guru. These hymns were added by his son and successor Guru Gobind Singh in 1705 A.D. This raga is not mentioned in any Indian classical scriptures on music nor in the Ragmala.
Khamaj is one of the ten thaats of Hindustani music from the Indian subcontinent. It is also the name of a raga within this thaat.
Nishada is the seventh and last svara in Hindustani music and Carnatic music. Nishada is the long form of the syllable नी. For simplicity in pronouncing while singing the syllable, Nishada is pronounced as Ni.
