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 few artists. After struggling to ascertain the raga’s origins, I was pleased to receive a direct message from guitarist Akshat Sharma in early 2024, informing me that it was devised by his grandfather Gopal Krishnan, the late great vichitra veena maestro (also the creator of Saraswati Sarang) – whose well-filmed rendition revolves around a refrain of RmPDGm, GR(N)S. Ramrang’s take 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 is directly linked to Krishnan’s original invention). Also see Tilak Bhairav, as well as more ‘shuddha Ga Malhar’ ragas including Des Malhar, Gaud Malhar, and Arun Malhar.
• Raga Megalist (365+) •
राग तिलक मल्हार
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• Hindustani Raga Index •
—Ramashreya Jha ‘Ramrang’ (2007)—
[bandish, e.g. 0:56] SRP(DnPmG), GRS, GR, GR(GRSR)mGRS, SRP(DSPmG), GRS, GR…
• 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 | 32 | Enclosed | 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.
• Prakriti: Desh, Des Malhar, Champak, Alhaiya Bilawal, Devgiri Bilawal, Kukubh Bilawal, Bihagara, Bihagda, Nat Kamod, Gaud Malhar, Sorath, Arun Malhar
–Swara Geometries–
• Core form: S–R–G–m–P–D–nN–S
• 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’)
–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
• Tanpura: Sa–Pa
• Names: Tilak Malhar, Malhar Tilak
—Gopal Krishna Sharma (1996)—