S-G-m-P-nN-S

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A folk-derived Khamaj raga featuring distinctive double-Ni interplay, seemingly of ancient Southern origin (Bor: “Tilang probably originated in Telangana, and may have been introduced to the North by an unknown 15th-to-16th-century poet-composer“). Dha is varjit, and shuddha Re is typically omitted too (although some may occasionally include it swara in taar saptak). Parrikar suggests definitive phrases focused on the mid-scale Ga–Ni space (GnPnPnGS; GnPNSnPGnG), with renditions often arriving adorned with various mishra flourishes – also learn more in Moumita Mitra’s quick vocal demo. Remains firmly popular amongst vocalists and instrumentalists alike, and has also been re-adopted into Carnatic music in recent generations. On a personal note: I’ll never forget first discovering Ravi Shankar’s landmark 1967 collaboration album with violinist Yehudi Menuhin (East Meets West), borrowed from a local library CD aged 14 – featuring an energetic Mishra Tilang arrangement (‘Swara-Kakali‘), later reworked by their respective students Gaurav Majumdar & Daniel Hope as part of the very first raga concert I ever witnessed (thus helping set me on the path which led me to move to Benares, and eventually to the creation of this project…). Compare to Jog, which evolved from Tilang around a century ago via an initial ‘Jog Tilang‘ compound – as well as Dhani, intertwined with the same lineage.

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• Raga Megalist (365+) •

राग तिलंग

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• Hindustani Raga Index •

Aroha: SGmPNS

Avroh: RNSnP, GmGS

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Chalan: e.g. SGmPnP; (m)G(P)mG; GmPNS; (P)nP; GmPNSGS; RNSnP; mPnP; (m)G(P)mGS (Bor/Sadolikar)

—Shahid Parvez (2020)—

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[gat, e.g. 6:58] GmP, NS, NSnP, P/n\P, GmG…

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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

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.

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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: (none found)

Also compare to other ragas matching the generic swaras ‘Sa-Ga-Ma-Pa-Ni‘: including Dhani (S-g-m-P-n-S); Madhuranjani (S-g-m-P-N-S); Madhukauns, Chandramadhu (S-g-M-P-n-S); Amirkhani Kauns (S-G-M-P-n-S); Hemshri (S-g-m-P-nN-S); Jog (S-gG-m-P-n-S); & Rasikpriya (S-gG-M-P-nN-S).

–Swara Geometries–

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• Core form: S–G–m–P–nN–S

• Reverse: SrRmPdS (=negative!)

• Negative: 4-1-1-3-2-1 (=reverse!)

• Imperfect: 2 (Pa, Ni)

• Detached: none

• Symmetries: none

• Murchanas: Jogeshwari (on Pa)

–Global Translations–

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• Carnatic: Thilang / Hans-Shri

S-G₃-M₁-P-N₂-N₃-S

• Jazz: Bebop Dominant (no 2nd/6th)

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

• Pitch classes (‘fret-jumps’):

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

(4–1–2–3–1–1)

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o • • • o o • o • • o o o

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• Tanpura: Sa–Pa (+Ga)

• Names: Tilang, Thilang, Tilangi, Tailang

• Transliterations: Hindi (तिलंग); Punjabi (ਤਿਲੰਗ); Urdu (تلنگ); Kannada (ತಿಲಂಗ್); Sinhala (තිලංග්)

—Shubha Mudgal (2022)—