• Raag Tilang •


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 GaNi 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…]

Raga Megalist (365+) •
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Hindustani Raga Index •


Aroha: SGmPNS
Avroh: RNSnP, GmGS

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


—Shahid Parvez (2020)—

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


• 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.


• Prakriti: (none found)


–Swara Geometries–

Core form: SGmPnNS
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–

Carnatic: Thilang / Hans-Shri
Jazz: Bebop Dominant (no 2nd/6th)
Pitch classes (‘fret-jumps’):

o • • • o o • o • • o o o


• Tanpura: Sa–Pa (+Ga)
• Names: Tilang, Thilang, Tilangi, Tailang


—Shivkumar Sharma (1987)—




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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]

Megalist (365+ ragas)
Search: Find your new favourite •
Tags: Classifying the ragascape •
Glossary: Raga jargon demystified
Murchanas: Swara-set rotations •
Thaat: Bhatkhande’s base scales •
Ragatable: Analytical connections •
Tanpuras: Divine overtonal drones •
Quotes: Musings from raga artists •
Talas: Hindustani rhythm cycles •
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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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