S-gG-m-P-nN-S

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Seldom heard today, the SgGmPnNS scale form once served as a vital historical bridge between Tilang and Jog: the latter, having evolved from the former around a century ago, originally retained Tilang’s double-Ni along with its own distinctive double-Ga. While most artists soon dropped Jog’s shuddha Ni, the older version is still occasionally performed under titles such as ‘Do Nishad ka Jog’ (e.g. Ashwini Bhide-Deshpande and others from Jaipur-Atrauli), ‘Jog-Tilang’ (e.g. Vilayat Khan, who subtitled his interpretation ‘Dogaha’ in reference to the double-Ga), or just ‘Jog’ (e.g. Agra singers such as Ram Deshpande and Anjanibai Lolienkar). Artists may choose to gravitate towards either of its parent ragas, or interweave both in equal measure, with ample room for imagination – Vilayat Khan sometimes splits the Ni space into 3 distinct sruti rather than 2 (e.g. as a P(nNṄS) khatka, and as sequential meend P(n) P(N) P(Ṅ) P(S)). Whichever approach is taken, the underlying swara-set offers several interesting properties: a rare example of a 7-swara audav raga, it sets the same interval sequence in poorvang and uttarang, opening up congruent phrase-pairings impossible within its progenitors (i.e. S-gG-m and P-nN-S have the same ‘jump pattern’ of 3-1-1: hear this in action in a harmonium lehra, and learn about other ‘poorvang=uttarang’ ragas in my Bifurcations article). Congruent with the Carnatic Chalanata, mela #36, which affords a more independent role to each swara, conceptualising the ga & ni more like a ‘tivra Re & Dha’. Compare to other intriguing compounds from the Tilang-Jog family such as Tanarang’s Hemshri (‘Tilang komal ga’) and Ulhas Bapat’s Amrut Ranjani (which mirrors Jog’s GmgS in uttarang as Dndm) – as well as Rasikpriya (the same scale with tivra Ma instead) and Kanakangi (the same interval sequence in ‘reverse’).

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राग जोग तिलंग

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—Vilayat Khan (~2000)—

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[jor, e.g. 39:40] GmPn, (Pm)GmPN, nPGmPnNS nP GmGS; mPGmP PPPPP, mPGm(m)nP, PPP, mPGmP, mPGPm mmmmm, (nP)mPGmG, GGGGG GmPGm(P)n, nnnnn, nPGmPN, NNNNN, NSnP mGmG P(n) P(N) P(N) P(S), nPmGmPN(SNS) (S)gS g(N), N(n) n(P), GmPmGgS…

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: (none found)

Also see other ragas matching the generic swaras ‘Sa-Ga-Ma-Pa-Ni‘

–Swara Geometries–

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• Core form: S–gG–m–P–nN–S

• Reverse: SrRmPdDS (=Kanakangi)

• Complement: SrRMdDS

• Imperfect: 2 (Pa, Ni)

• Detached: 0

• Symmetries: none

• Murchanas: Todi set

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• Quirks: ‘Pa-repeating‘ (poorvang and uttarang take the same ‘semitone shape’)

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–Global Translations–

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• Carnatic: ~Chalanata (mela #36)

S-R₃-G₃-M₁-P-D₃-N₃-S

• Jazz: Ionian #2 #6

1-b3-3-4-5-b7-7-8

• Pitch classes (‘fret-jumps’):

0-3-4-5-7-10-11-0

(3–1–1–2–3–1–1)

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o • • o o o • o • • o o o

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• Tanpura: Sa–Pa

• Names: Jog Tilang, Jog-Tilang, Do Nishad ka Jog, Dogaha

• Transliterations: Hindi (जोग तिलंग)

—Ashwini Bhide-Deshpande (2019)—