Raag Tilak Kamod | Pandit Tejendra Majumdar & Pandit Kumar Bose | Sarod & Tabla

Описание: #sarod #tabla #indianmusic
One of the most prominent sarod players of his time who hails from the Senia-Maihar gharana, Pandit Tejendra Narayan Majumdar fuses gayaki (lyrical vocal imitation) with tantrakari (intricate instrumental playing) in a complex and refined style.

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Learn more about the music:

Paired with Pandit Kumar Bose, one of the most exciting tabla players representing the Benares gharana, he delivers a stunning performance in Raag Tilak Kamod in this video.

Limbering up with a short alap in Tilak Kamod, Pandit Majumdar plays a slow (vilambit) composition in Teental. The second composition in madhyalay was written and composed by his guru, Ustad Ali Akbar Khan. In it, he demonstrates Ustad Khan’s atypical application of both the madhyams (pure and sharp 4th) - a feature that the latter introduced into Tilak Kamod that magically fits into the melodic scheme of the raga although it deviates slightly from its set rules. The faster tempo (drut) composition in Teental ends with a rousing glorious and lyrical teamwork between the sarod and the tabla.

Pandit Majumdar weaves a tapestry of gorgeous layers in Tilak Kamod, his notes drifting effortlessly - sometimes grounding his listeners in wistful moments and then again soaring in airy grace.

Pandit Bose doles out velvety, indulgent tabla bols (syllables) in a mottled palette of muted and sparkling sounds, underpinning the different vignettes of the sarod’s emotions masterfully.

Tilak Kamod is a compound of ragas Tilak and Kamod. Tilak is a rarity now and partially exists in ragas like Tilak Kamod or Tilak Shyam, but Kamod is a popular raga. So is this beautiful raga that boasts of an enticing vakra (meandering) movement. It is derived from Bilawal thaat and its jati is vakra-sampurna, that is, it is deviousy heptatonic. The vadi swar or dominant note is Re (2nd) and the samvadi swar or sub-dominant note is Pa (5th). All the notes are shudh or pure in this raga. Its arohana and avarohana are:

S R G S, R M P D M P S’

S’ P D M G, S R G S N A twin of raga Desh, this raga asserts itself by closing its phrases at shudh Ni (pure 7th) of the lower octave. Interestingly, Ni 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 Pa (5th ) is another important note-combination which sets it apart. The frequent twists and turns give it a light character. Tilak Kaamod exudes a sweet, romantic mood.
Pandit Tejendra Narayan Majumdar
Pandit Kumar Bose (tabla)
Debipriya Das (tanpura)
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