Saturday, October 11, 2014

Desh Sorath Tilak Kamod

My late Guru Pandit V G Jog, often said that the comparative understanding of raags was very important. I, being a poor student who never ultimately had a career in music, never thought about it as much as I should have, though, from time, the similarities and differences between certain raags manifested themselves whenever I practiced.

Bageshri - Bhimpalasi

Sorath is the older one in consideration. It is used in Sikh Shabads for great effect, and has a meditative essence.

Sorath : Sa Re Ma Pa Ni Sa^        Sa^ ni Dha Pa Ma Ga Re Sa

Ga is treated lightly while Re is emphasized

Here are a couple of examples

Prof Surinder Singh of the Raj Academy, a wonderful, distinguished man, who I have had the honour of meeting

The amazing Kumar Gandharva

Desh : Sa Re Ma Pa Ni Sa^        Sa^ ni Dha Pa Ma Ga Re Sa

Lots of emphasis on Ga

It stirs the sentiments of patriotism, hence the name perhaps

And Tilak Kamod is for lullabies, with the specific sequence Pa-Sa^  Pa-Dha Ma Ga helping to gently close the eyes of a child

Mukul Shivputra, son of KG
Ustad Shujaat Khan

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