S-G-m-P-nN-S
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 [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 led me to move to Benares, and eventually to the creation of this project…]
• Raga Megalist (365+) •
राग तिलंग
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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…
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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 | 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: (none found)
–Swara Geometries–
• 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–
• 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)
o • • • o o • o • • o o o
• Tanpura: Sa–Pa (+Ga)
• Names: Tilang, Thilang, Tilangi, Tailang
• Transliterations: Hindi (तिलंग); Punjabi (ਤਿਲੰਗ); Urdu (تلنگ); Kannada (ತಿಲಂಗ್); Sinhala (තිලංග්)
—Shivkumar Sharma (1987)—
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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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