• Raag Tilak Malhar •

S-R-G-m-P-D-nN-S


A presumed blend of Miyan ki Malhar and Tilak Kamod, mentioned in Geeta Banerjee’s Malhar Darshan but only recorded by a handful of artists. Ramrang’s interpretation showcases the Malhar family’s mid-scale mRP phrase, whereas Kishori Amonkar gives more weight to its nDNS turnaround (n.b. it is unknown whether her self-composed ‘Tilak Malhar’ bandish has any direct links to Ramrang’s compositions). Gopal Krishna’s well-filmed vichitra veena rendition, listed as a morning raga on the Prasar Bharati Archive, showcases similar turns, setting them against a refrain of RmPDGm, GR(N)S. Also see Tilak Bhairav, as well as more ‘shuddha Ga Malhar’ ragas including Des Malhar, Gaud Malhar, and Arun Malhar.


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—Ramashreya Jha ‘Ramrang’ (2007)—


[bandish, e.g. 0:56] SRP(DnPmG), GRS, GR, GR(GRSR)mGRS, SRP(DSPmG), GRS, GR…

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• Classifiers •

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


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

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32Enclosed | Inexact

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

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

Symmetries: Mirror | Rotation | Palindr.


Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

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

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

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• Prakriti: Desh, Des Malhar, Champak, Alhaiya Bilawal, Devgiri Bilawal, Kukubh Bilawal, Bihagara, Bihagda, Nat Kamod, Gaud Malhar, Sorath, Arun Malhar

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–Swara Geometries–

Core form: SRGmPDnNS
Reverse: SrRgmPdnS (=Gandhari)
Negative: 5-2-3-2
Imperfect: 1 (Ni)
Detached: none
Symmetries: mirror (Gm—nN)
Murchanas: Bihag set

Quirks: maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

Carnatic: ~Kedaragaula
S-R2-G3-M1-P-D2-N2-N3-S
Jazz: Bebop Dominant
1-2-3-4-5-6-b7-7-8
Pitch classes (‘fret-jumps’):
0-2-4-5-7-9-10-11-0
(2–2–1–2–2–1–1–1)

o • o • o o • o • o o o o


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• Tanpura: Sa–Pa
• Names: Tilak Malhar, Malhar Tilak

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—Gopal Krishna Sharma (1996)—

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Hindustani Raga Index

An open-ended project seeking to bring North Indian raga closer to all who approach with open ears. Combines direct input from dozens of leading Hindustani artists with in-depth insights from music history, global theory, performance practice, cognitive science, and much more! [out 2023-24]

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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

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