Raag tilak kamod
Vivek R. Datar
I had asked Rajan to explain this raag to me, and also had
asked for notation of famoud bandish "Soor Sagat Raag
Vidya". I am posting his mail for everybody's use with
his permission.
I have recording of Mallikarjun Mansoor with the same
bandish, it is available on CD.
-Vivek
Dear Vivek,
Namashkar. A brief note to your query follows.
It is a khamAj-anga sampoorNa-jAti rAga. All the swaras
employed are shuddha; the komal nishAd has a cameo role
as a vivAdi. One way of stating the Aroha/avaroha set is:
S R M P S"::S" P, D M G, R P M G, S N', P' N' S R G, S
uuu -----
Standard convention applies: M=shuddha madhyam; I have
indicated the glide with "---" to keep it distinct from
the heavier meenD "uuu."
Tilak Kamod is very vakra and not much insight into
its character can be purchased with the A/A set.
However, if one writes down the following tonal sentence,
one will have said essentially everything there is about
the rAga. "The rest," as Einstein would say, in an entirely
different context, "are mere details."
P' N' S R G, S N', S, R P, P M G, R G S N', (R)P M G, S N'
--- ---
Note the repose on the mandra shuddha nishAd, the nyAsa on the
gandhAr and the skipping of the rishab (the 'langhan alpatva' mode
for that swara) in the declension from G to S. This is crucial
not only for the health of the rAga-svarupa but also to prevent
spillage into the demesne of Raga Desh. Both these rAgas are cut
from the same cloth; the distinction is in the tonal embroidery.
Recall the strong role of the rishab in Desh (R P M G R), the G-N'
coupling as well, and contrast with the above. Good
musicians utilize the likeness of the pair to create the
occasional tirobhAva-AvirbhAva effect.
Supplementing the foregoing are now the "details":
1) R M P D M P S" - the shuddha nishAd is skipped ("langhan
alpatva") on way to the tAr Sa. Then the swoop via a meenD from
the tAr shaDaj to the madhya saptak pancham - very Tilak Kamodian
this S" P. Typically at this juncture the komal nishAd is rolled
in: n D M G - the D M G glide is suggestive of the rAga's khamAj
affiliation and the komal nishAd strengthens it. In Desh the presence
of the komal nishAd is stronger and required, not so on Tilak Kamod.
2) The shuddha nishAd is not a no-show en route to S" as (1) might
suggest. It comports itself rather well, usually in the opening
antarA movements. To wit, M P N, N S", the elongation of the note is
very pleasing. It may also be employed simply as in M P N S".
That's about it, for Tilak Kamod. Other allied rAgas are Bihari,
Sorath etc. These are all considered dhuni rAgas in this day.
Tilak Kamod, as you know, is hugely popular in our parts; it is
no less loved elsewhere in India. There is the well-known
invocation to Mahalakshmi-devi that my father has been singing
for decades during the opening day of the Rathasaptami
festival in Panjim: "prArthanA Mahalakshmi mAte, rasarangAsi
sadA trAte, tava krupe mangal ghaDo, santa-seva nitya lAbho,
sadayi namito aji mAte." He renders (or used to, he's old now)
it in style and with a great deal of feeling, blessed as he was
with splendid natural gifts of expression in both music and drama).
Lata's 'gagan sadan tejomaya' is a perennial favourite. So is the
composition set to Meerabai's words: "Rama-nAma rasa peeje manuvA..."
And who can forget Faiyyaz Khan's charming "balam pardesA nA jaiyyo"?
Bada kHayAls and dhrupads in the rAga are a rarity nowadays but
they do exist.
The composition you have asked the notation of is exquisite.
Incidently, the prArthanA above has a similar utHAv and is in
roopak tAla as well. You will surely digest it in minutes. I
shall introduce Nachiketa to it perhaps next week and he may
like it enough to present at his next outing. Note there
they exist slight variations of this composition and once
you get used to one the others usually sound inferior
on first hearing.
Raga: Tilak Kamod
Tala: Roopak (madhya laya)
sur sangat, rAga-vidyA sangat
pramANa jo kanTH kar dikhAye
vAko jane guni-gyAni
anu druta laghu guru preeta tAla
moola dharma rAkhiye
su-anchhar sudhbAni gyAni
Key:
(1) All shuddha notes in caps (M=shuddha madhyam, m=tivra madhyam)
(2) The " and ' following a note denotes its tAr-saptak and mandra-
saptak affiliation, respectively.
(3) The grace note is enclosed in parenthesis of the type () and it
operates on the note immediately following it.
Note: The glide from G to S is crucial and grazes the rishab.
Asthaie:
1 2 3 4 5 6 7
G R (P)M G - S -
su.....ra san....ga............ta......
<----curve---->
(Alternatively - I prefer the following variation):
su.....ra san..................ga.....ta
G R PM G - S -
rA............ga vi............dyA.....
<-curve->
(P)M G - S N' - -
san.................ga......ta . .
<curve>
N' P' - (P')S - S -
pra...mA...........................Na......
(S)N' S G - R P (P)M
jo..... kan............TH ka......ra
P (P)G - S - N' S
di....khA...........ye....... vA.....ko
<curve>
(M)R (P)M P D M GR G
jA..........................ne.............
S (G)R P (P)D M (P)G S
gu....ni gyA............ni.............
<curve>
Antara:
1 2 3 4 5 6 7
M P N N S" S" N
a......nu dru....ta la.....ghu gu
S" S" - S" S" - S"
ru pree..........ta tA............la
S" - S" S" - P P
moo...........la dhar.................ma
<swoop down>
P (P)D M G - G R
rA............khi....ye...... su.....an
G S N' G R P -
chha...ra...... su.....dha bA......
P (P)D M (P)G - S -
ni............. gyA...........ni......
<curve>
jawa...@hotmail.com
Felt really good to know more about this sweet
and beautiful raga. Thanks Vivek for posting
and Rajan for writing.
In between I had heard a recording of Rajan-Sajan
Mishra in raga Tilak-kamod (found it in the Cupertino
public library of all the places!). It is quite good. I
don't remember the vilambit bandish but the drut
one is the evergreen "neer bharane kaise jau".
The Lata Mangeshkar song "gagan sadan" that Rajan
has mentioned is actually an "adaption" (just
being gentle to Hridaynath!!) of Dinanath Mangeshkar's
natyageet "vitari prakhara tejobal". And Dinanath's
rendition is quite interesting.
One more very good (and very old) Marathi song
that comes to my mind whenever I think of Tilak Kamod
is the Asha Bhosle-Sudhir Phadke duet "roopas bhalalo
mi".
Abhinav Jawadekar
-----------== Posted via Deja News, The Discussion Network ==----------
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Vivek R. Datar
>One more very good (and very old) Marathi song
>that comes to my mind whenever I think of Tilak Kamod
>is the Asha Bhosle-Sudhir Phadke duet "roopas bhalalo
>mi".
Abhinav
I remember that song, really old one. The tune reminds more of
Des than Tilak Kamod. Dhruvapad has some Tilak Kamod anga,
especially Pa-Sa, but the Antara is a real give away to Des.
Nonetheless, a very beautiful composition, most probably
by Sudhir Phadke.
Regarding the Deenanath song... I have only heard it from
Hrudaynath. Is Deenanath version available commercially?
-Vivek
Bhash
>>One more very good (and very old) Marathi song
>>that comes to my mind whenever I think of Tilak Kamod
>>is the Asha Bhosle-Sudhir Phadke duet "roopas bhalalo
>>mi".
>
>
>Abhinav
>
>I remember that song, really old one. The tune reminds more of
>Des than Tilak Kamod. Dhruvapad has some Tilak Kamod anga,
>especially Pa-Sa, but the Antara is a real give away to Des.
>
>Nonetheless, a very beautiful composition, most probably
>by Sudhir Phadke.
I believe this song is from "avaghAchi sa.nsAr" film, Raajaa Gosawi ?
Any corrections?
Subhash
Nitin Sharma
I have heard of a short one by DV Paluskar which is great ("piyu
pal na laagi mori ankhiyan..)
-nitin
jawa...@hotmail.com wrote:
: Felt really good to know more about this sweet
: and beautiful raga. Thanks Vivek for posting
: and Rajan for writing.
: In between I had heard a recording of Rajan-Sajan
: Mishra in raga Tilak-kamod (found it in the Cupertino
: public library of all the places!). It is quite good. I
: don't remember the vilambit bandish but the drut
: one is the evergreen "neer bharane kaise jau".
: The Lata Mangeshkar song "gagan sadan" that Rajan
: has mentioned is actually an "adaption" (just
: being gentle to Hridaynath!!) of Dinanath Mangeshkar's
: natyageet "vitari prakhara tejobal". And Dinanath's
: rendition is quite interesting.
: One more very good (and very old) Marathi song
: that comes to my mind whenever I think of Tilak Kamod
: is the Asha Bhosle-Sudhir Phadke duet "roopas bhalalo
: mi".
: Abhinav Jawadekar
mu...@bnl.gov
ni...@cs.washington.edu (Nitin Sharma) wrote:
> Do you know of any famous renditions of this raag by the stalwarts?
Aaye Ritu Savanki.. of BGAK - a classic.
muthu
Nur der BvB!
Ajay P Nerurkar
: Raga: Tilak Kamod
: Tala: Roopak (madhya laya)
:
: sur sangat, rAga-vidyA sangat
This bandish was converted to a devotional natyageet
"mama sukhaachi THeva devaa", for the play "Swayamvar".
Ajay
Nitin Sharma
: Do you know of any famous renditions of this raag by the stalwarts?
: I have heard of a short one by DV Paluskar which is great ("piyu
: pal na laagi mori ankhiyan..)
oops! Bad memory..
the piece is actually "koyaliya bole amuva ke daar.."
piyu pal na lagi is gaud sarang..
Thanks to Rajan for pointing this out..
-nitin
Rajan P. Parrikar
>Raga: Tilak Kamod
>Tala: Roopak (madhya laya)
>
>sur sangat, rAga-vidyA sangat
>pramANa jo kanTH kar dikhAye
>vAko jane guni-gyAni
>
>anu druta laghu guru preeta tAla
That should be "pluta."
r
Rajan P. Parrikar
>>Raga: Tilak Kamod
>>Tala: Roopak (madhya laya)
>>
>>anu druta laghu guru preeta tAla
> ^^^^^^
>
>That should be "pluta."
Addendum: The terms in the first line of the antarA
all refer to the angAs of tAla, characterizing the measures
of time. There are 6 of them (shaDangAs): anudruta, druta,
laghu, guru, pluta and kAkapada. For further details the
reader is referred to Prof. Sambamoorthy's volumes on "South
Indian Music."
Warm regards,
r
Amit Chatterjee
the bandish "Soor Sagat Raag Vidya" beautifully with huge amount of
audience daad in the background.
In Satyajit Ray's movie, Jalsaghaar, Vilayat Khan (music director) uses
Tilak Kamod as background music, probably, playing it himself. Very nice.
Regards.
Amit
--
************************************************************************
Amit Chatterjee
as...@mindspring.com
amit_ch...@hotmail.com
http://www.mindspring.com/~asav
************************************************************************
Bhash
Nitin Sharma wrote in message ...
>Do you know of any famous renditions of this raag by the stalwarts?
>
>I have heard of a short one by DV Paluskar which is great ("piyu
>pal na laagi mori ankhiyan..)
>
DVP's Piyu palana laagi mori.... is in raaga gaud-saranga.
Subhash
Bhash
Nitin Sharma wrote in message ...
>Do you know of any famous renditions of this raag by the stalwarts?
>
>I have heard of a short one by DV Paluskar which is great ("piyu
>pal na laagi mori ankhiyan..)
>
>-nitin
DVP's piyu palan laagi mori, is raaga gaud-saaranga.
Subhash
bh...@my-dejanews.com
>
> I have heard of a short one by DV Paluskar which is great ("piyu
> pal na laagi mori ankhiyan..)
>
> -nitin
>
This piece (Piyu palan laagi) is in raag Gaud_Saranga.
Subhash
kishore...@rocketmail.com
Another excellent rendition of Thilak Kamod, I have heard recently is by Rajan
Misra and Sajan Misra (or Banarasi Gharana ??) : "Saptha Sur Ki Dhayn Kare"
(Vilambit - Jhaptaal) and "Neer Bharan Kaise jaavoo Sakhi re" (Madhyalay and
Dhrut TeenTaal). This is a half hour rendition including a quick Taraana and
the recording is available fron Magnasound Sterio.
-- Kishore.
====================================
In article <F2343...@beaver.cs.washington.edu>,
ni...@cs.washington.edu (Nitin Sharma) wrote:
> Nitin Sharma (ni...@cs.washington.edu) wrote:
> : Do you know of any famous renditions of this raag by the stalwarts?
>
> : I have heard of a short one by DV Paluskar which is great ("piyu
> : pal na laagi mori ankhiyan..)
>
> oops! Bad memory..
> the piece is actually "koyaliya bole amuva ke daar.."
> piyu pal na lagi is gaud sarang..
>
> Thanks to Rajan for pointing this out..
>
> -nitin
>
-----------== Posted via Deja News, The Discussion Network ==----------
Rajiv Chakravarti
koyaliya bole ambuvaa ke Daar par
Talking about stalwarts though, I have to say that
I have really not heard a sweeter rendition in Tilak Kamod
than by Ulhas Kashalkar, at a private house concert.. He
sang
"sur sangat raag vidyaa" for the Vilambit piece (roopak)
and
" aavat ghar aaye baalam moraa... " (drut teentaal)
OUTSTANDING REALLY
Regards
Rajiv
======================================================
bh...@my-dejanews.com wrote in article <7282np$84t$1...@nnrp1.dejanews.com>...
> In article <F21Ft...@beaver.cs.washington.edu>,
> ni...@cs.washington.edu (Nitin Sharma) wrote:
> > Do you know of any famous renditions of this raag by the stalwarts?
> >
> > I have heard of a short one by DV Paluskar which is great ("piyu
> > pal na laagi mori ankhiyan..)
> >
> > -nitin
> >
>
>
> This piece (Piyu palan laagi) is in raag Gaud_Saranga.
>
> Subhash
>
Abhinav & Pradnya Jawadekar
Vivek R. Datar wrote:
> In <71vr65$qce$1...@nnrp1.dejanews.com> jawa...@hotmail.com writes:
>
> >One more very good (and very old) Marathi song
> >that comes to my mind whenever I think of Tilak Kamod
> >is the Asha Bhosle-Sudhir Phadke duet "roopas bhalalo
> >mi".
>
> Abhinav
>
> I remember that song, really old one. The tune reminds more of
> Des than Tilak Kamod. Dhruvapad has some Tilak Kamod anga,
> especially Pa-Sa, but the Antara is a real give away to Des.
>
Yes, you are right here. The initial alaps and the Druvapad belong toTilak
Kamod but the Antara is definitely in Des. For some reason this
is the first time that I realized it.
> Nonetheless, a very beautiful composition, most probably
> by Sudhir Phadke.
>
The music direction is by Vasant Pawar.
> Regarding the Deenanath song... I have only heard it from
> Hrudaynath. Is Deenanath version available commercially?
>
> -Vivek
Yes, there is an HMV cassette (it was an LP earlier) labeled
"Master Dinanath Mangeshkar" that has this song. I picked it
up in my last visit to Pune.
Abhinav Jawadekar