Tilak kamod is distinct from rag Kamod (vide). Tilak kamod is equally popular in the semi-classical genres as it is in classical music, especially in the dhrupad tradition.
Tone material: S R G m P D N
Most phrases in this rag move in a oblique manner. Ga and Dha are omitted in direct ascent and S R m P /S with a glide between Pa and Sa, is highly characteristic of Tilak kamod.
Similarly, S \P D m G is a characteristic descent. Ga and Ni are important notes.
Some musicians also occasionally include flat Ni (Thakur [Sangitanjali I-1] 1977: 127). However, some musicians prefer to avoid it altogether (Vilayat Khan EALP 1259). According to some, Tilak kamod with both Ni-s is known as rag Bihari (Bhatkhande [KPM II] 1952: 182)
The descent progresses in a peculiar manner; instead of returning to Sa, it tends to go into the lower octave with a pause on natural Ni, as in S \P D m G, S R G S N and then concludes like P N S R G \S.
P D m G and R G S N are complementary phrases.
Some characteristic phrases:
S R m P /S
P N S R G \S
S R P m G
S \P D m G
S R G S N
A large number of compositions are based on this rag. These include compositions in genres such as: dhrupad, dhamar, sadra, khayal as well as semi-classical genres such as thumri and dadra and popular forms like ghazal. In semi-classical style, the exposition of this rag may also include elements other than those described here.
Rag Desh has some similarities with Tilak kamod, especially when the latter also includes flat Ni. However a proper emphasis on Ga instead Re and the above phraseology can help maintain the character of Tilak kamod.
Time: late evening (ibid)
Performance by Ashwini Bhide
सूर संगत राग विद्या
संगीत प्रमाण जो कंठ कर दिखावे
वाको जाणिये गुनी ग्यानी
अणुद्रुत लघु गुरू प्लुत
ताल मूल धर्म राखिये
संगत सो अंछर
Tal: Rupak (medium tempo)
4-12: Performance opens with a sustained Sa. Note a touch of lower Ni to begin the Sa
14-20: A typical phrase S R G \S with a glide between Ga and Sa
24-31: m P /S – \P, a characteristic phrase with an ascending glide from Pa to Sa, followed by a reverse movement -from Sa to Pa. These movements recur throughout the performance (37-40)
47-51: A typical return ending on lower Ni -S R G S N
54-58: Ga is sustained and returns to Sa. Note a brief touch of Re for the held Ga, which is clearly heard
61-97: First line of the composition, presented with variations
98-102: Second line
104-112: First and second line again
115: Following line
122: Next line
130: Concluding line of the first section (sthayi)
142-181: The first section is repeated
198: Second part of the composition (antara)
206: Second line of this section
220: Following line
222: Concluding line of the composition
253: Improvisation in the lower middle octave