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Posts: 1,564
Reply with quote  #16 
Have a couple recordings I'm listening to again...Ust Imrat Khan Tilak Kamod in Amsterdam, and a Raag Desh with all four of his sons. By the theory they do share a lot of melodic material...I guess you could say if you aren't hearing ANY komal Ni odds are on its Tilak Kamod (even though komal Ni can creep in there). If komal Ni is fairly common then the reverse...its those middle ground scenarios (kNi rare, but used) that might be trickier to discern. But Tilak Kamod has a very recognizable melodic pattern to me I think.

Wow, in this Desh, just heard someone (assuming it was Imrat-ji, or one of his boys showing off ) bend up to high Sa...first high Da, then high kNi, then Ni, then that nigh-impossible high Sa. Ouch!!!

Really enjoying that link, I don't listen to enough vocal...probably ought to if I'm to be pursuing gayaki ang :wink: Three minutes in and I'd say that while she is hitting kNi, it is not with the strength and emphasis one normally hears in Desh. Several times it was just a delicate denotation during a meend...well, bam, there it was concretely during the gat section. But still, the shuddh Ni is there in the descent...reminding me a little of the alhaiya bilawal descent, Sa Ni Dha Pa, /kNi Dha Pa, etc, that sort of down, then back up to kNi, and back down.

Speaking as the inverse of an expert!

Senior Member
Posts: 464
Reply with quote  #17

The article says that in North India there is the convention to omit kom. ni in Tilak Kamod , whereas in Maharashtra both ni

सहस्रनाम ततुलयम राम नाम वरानने |
Sahasranāma tat tulyam Rāma nāma Varānane .
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