Nat BihagSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
Hindustani raga
Tilak Kamod
Lilting vakra raga.
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- Thaat
- Khamaj
- Jati
- Shadava–Sampurna
- Notes
- 7 of 12
- Movement
- Vakra (zig-zag)
- Time
- Night
- Rasa
- Shringar
- Vadi (main note)
- Re (R)
- Samvadi (second note)
- Pa (P)
Your guide to Tilak Kamod
New to classical music — moods, stories, film songs and simple listening.
Start listening
Press play to hear the notes of Tilak Kamod, rising then falling.
Its mood
Shringar. Traditionally heard at night.
Film songs you may know ↓New to classical music?
Tilak Kamod, explained simply
Think of a raga as more than a scale: a set of rules and a personality. Tilak Kamod has its own notes, its own favourite phrases, its own time of day and its own mood, the way a person has a recognisable voice and way of talking.
How it feels
Tilak Kamod sounds bright, open and sunny, close to the familiar Western major scale (do-re-mi). Its emotional colour is love and beauty, sometimes the sweet ache of missing someone. Traditionally it is traditionally performed in the night, because Indian musicians believe each raga matches the feeling of a certain hour or season.
How to recognise it
- The melody goes up with 6 notes but comes down with 7, so the climb and the descent sound noticeably different.
- The melody zig-zags instead of climbing straight up a ladder. It takes little turns and steps back before moving on, which gives it a winding, conversational shape.
- Notice which note the musician keeps returning to and resting on: in Tilak Kamod that's R, with P as its partner. These are the raga's "home base" notes after Sa.
Its beauty
Lilting vakra raga. The beauty of Tilak Kamod comes from patience: a good performer doesn't rush through the scale but lingers, bending into notes and letting each phrase breathe, so the mood builds slowly until it fills the room.
What makes it different
- Nat, Mand, Hemant use the very same notes. Ragas aren't just scales: the difference lies in which notes are stressed, which phrases are used and how the melody moves. That's why two ragas built from the same notes can feel completely different.
- Across the North–South divide, Shankarabharanam (Carnatic) and Arabhi (Carnatic) uses the same notes. Listening to both side by side shows how the two traditions shape the same material differently.
- In Hindustani music, a raga usually unfolds slowly. The performance often begins with a long, beat-less exploration (alaap) where the musician reveals the raga one note at a time.
Listening exercise: Try this: press "Full scale" above, then open one of the recordings below. In the first few minutes, see if you can hear the musician dwelling on R. Once you catch it, you've started to recognise Tilak Kamod.
History & evolution
Hindustani ragas mostly developed through oral tradition, passed guru to disciple. Medieval treatises such as Sangita Ratnakara (13th c.) and the later Raga-Ragini systems grouped them into 'families'.
In the early 20th century, V. N. Bhatkhande organised Hindustani ragas into ten thaats (parent scales). Tilak Kamod is classified under Khamaj thaat. The thaat is a modern classification, not necessarily the raga's historical origin.
Each gharana (school) interprets ragas slightly differently, so a raga's phrasing has kept evolving through the 19th and 20th centuries, and further through recordings and radio.
Looking for more history…
Scale
Arohana (ascent) · 6 notes
S R G S, R M P N S'
- Devanagari
- सा रे ग सा, रे म प नि सा•
- Bengali
- সা রে গা সা, রে মা পা নি সা•
Avarohana (descent) · 7 notes
S' P D M G S R G S N
- Devanagari
- सा• प ध म ग सा रे ग सा नि
- Bengali
- সা• পা ধা মা গা সা রে গা সা নি
Synthesised with Sa = A3. A real performance uses gamakas, meends and phrasing that a bare scale can't capture.
Notes on the octave
S
C
r
C#
R
D
g
D#
G
E
M
F
M#
F#
P
G
d
G#
D
A
n
A#
N
B
| Swara | Interval from Sa | Western (Sa = C) |
|---|---|---|
| Sa | Unison | C |
| Shuddh Re | Major 2nd | D |
| Shuddh Ga | Major 3rd | E |
| Shuddh Ma | Perfect 4th | F |
| Pa | Perfect 5th | G |
| Shuddh Dha | Major 6th | A |
| Shuddh Ni | Major 7th | B |
Character
Jati (Shadava–Sampurna). The ascent uses 6 distinct notes and the descent 7. Audava = 5, Shadava = 6, Sampurna = 7.
Vakra (zig-zag) movement. The scale doubles back on itself, so phrases have to follow its characteristic turns, not run straight up or down.
Parent scale. Khamaj thaat: Komal Ni, all others shuddh. Equivalent to the Mixolydian mode and Carnatic Harikambhoji.
Time (Night). Sung during the night prahars (roughly 9 PM–3 AM). Night ragas often stress the upper tetrachord (uttaranga).
Vadi and samvadi. R is the king note, the most emphasised and returned to. P is the minister, the second most important note.
Shringar
Romance and beauty, including love in union (sambhoga) and longing in separation (viraha).
Listen
Each link opens a YouTube or Spotify search for this raga by the instrument or artist.
Vocal
Flute (Bansuri)
Sitar
Sarod
Same notes in Carnatic music
These ragas use exactly the same notes, though their phrasing and ornaments differ.
Shankarabharanam · CarnaticArabhi · CarnaticBegada · CarnaticAtana · CarnaticBilahari · CarnaticJanaranjani · CarnaticKadanakuthuhalam · CarnaticNeelambari · CarnaticDevagandhari · CarnaticPratapa Nattai · CarnaticBehag · CarnaticChaya · CarnaticDhurvanki · CarnaticGajagowri · CarnaticGarudadhvani · CarnaticGowdamalhar · CarnaticHemant {Hindustani} · CarnaticJulavu · CarnaticKathanakuthuhalam · CarnaticKokilabhashani · CarnaticKolahalam · CarnaticKurinji · CarnaticKusumavichithra · CarnaticKutuhala · CarnaticMand {Hindustani} · CarnaticNagadhwani · CarnaticNarayanadeshakshi · CarnaticPahadi {Hindustani} · CarnaticPoornachandrika · CarnaticPoornagowla · CarnaticPoorvagowla · CarnaticSindhu · CarnaticSindhu Mandari · CarnaticSuddha Malavi · CarnaticSuddha Sarang · CarnaticSuddha Vasantha · CarnaticSuraranjani · CarnaticVallabhi · CarnaticVeerapratapa · Carnatic
Ragas with the same notes
Same notes, but a different character because of emphasis, movement and phrasing.
Why this time of day?
Tilak Kamod is traditionally sung: Night.
- Hindustani music follows the samay chakra, a 'clock of ragas'. Musicians noticed over centuries that certain combinations of notes match the feeling of certain hours, and teachers passed these timings on as a rule.
- Its most important note (R) sits in the lower half of the scale (purvanga). By tradition, ragas centred in the lower half are sung from noon to midnight.
- These are traditions, not physics. Today, recordings and concert schedules mean ragas are often heard at other times, but many musicians still honour the samay chakra.
Close ragas & how they differ
Ragas that sound most like Tilak Kamod, and how to tell them apart.
NatSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Going up: Tilak Kamod climbs S R G S, R M P N S', while Nat climbs S R G M P D N S'.
- Tilak Kamod uses a different number of notes going up than coming down; the other is more symmetrical.
- Mood: Tilak Kamod leans shringar, Nat leans veera.
Shuddh NatSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Going up: Tilak Kamod climbs S R G S, R M P N S', while Shuddh Nat climbs S G M P N S'.
- Mood: Tilak Kamod leans shringar, Shuddh Nat leans veera.
Kukubh BilawalSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Going up: Tilak Kamod climbs S R G S, R M P N S', while Kukubh Bilawal climbs S R G M P D N S'.
- Tilak Kamod uses a different number of notes going up than coming down; the other is more symmetrical.
- They belong to different times: Tilak Kamod is sung in the night, Kukubh Bilawal in the morning.
- Mood: Tilak Kamod leans shringar, Kukubh Bilawal leans shanta.
NatkamodSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Going up: Tilak Kamod climbs S R G S, R M P N S', while Natkamod climbs S R G M P D N S'.
- Tilak Kamod uses a different number of notes going up than coming down; the other is more symmetrical.
Shukla BilawalSame notes
- Both use exactly the same notes, so the difference lies in how they move and which notes they dwell on.
- Going up: Tilak Kamod climbs S R G S, R M P N S', while Shukla Bilawal climbs S R G M P D N S'.
- Tilak Kamod uses a different number of notes going up than coming down; the other is more symmetrical.
- The most important note differs: Tilak Kamod centres on R, Shukla Bilawal on M.
- They belong to different times: Tilak Kamod is sung in the night, Shukla Bilawal in the morning.
- Mood: Tilak Kamod leans shringar, Shukla Bilawal leans shanta.
Linked ragas & variants
Ragas from the same family or named after Tilak Kamod, such as Yaman and Yaman Kalyan. They are related but each has its own rules.
Other ragas from Khamaj
Desh · HindustaniKhamaj · HindustaniSorath · HindustaniKalashri · HindustaniJogeshwari · HindustaniKhambavati · HindustaniChampakali · HindustaniJansammohini · HindustaniMegh Ranjani · HindustaniBihari · HindustaniDesh Malhar · HindustaniBihagda · HindustaniJhinjhoti · HindustaniTilang · HindustaniRageshree · HindustaniGorakh Kalyan · HindustaniKalavati · HindustaniJaijaivanti · HindustaniGara · HindustaniJog · HindustaniMalgunji · HindustaniNandkauns · Hindustani
Film songs in this raga
Bollywood (Hindi)
Other Indian films (Tamil, Telugu, Malayalam, Kannada, Bengali, Marathi)
No regional film song is confidently attributed to this raga yet.
Top Bollywood songTop Tamil songTop Telugu songTop Malayalam songTop Kannada songTop Bengali songTop Marathi song
Film songs often take liberties with a raga, so treat these as "based on" rather than strict renditions.
Discussion
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Notation: Hindustani komal notes are lowercase (r g d n), M# = tivra Ma, ' = upper octave. Carnatic numbers mark swara variants (R1, G3, …).