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. Remains firmly popular amongst vocalists and instrumentalists alike, and has also been re-adopted into Carnatic music in recent generations [n.b. 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 eventually led to the creation of this project…]

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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)

–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

—Shivkumar Sharma (1987)—