Tilang

Reading the swaras

Sa is the reference pitch. The shuddha notes are S R G M P D N; r g d n denote komal Re, Ga, Dha and Ni. M^ denotes tivra Ma. An arrow after a note places it in the upper (↑) or lower (↓) octave. Without an arrow, the note belongs to the middle octave.

Overview

Tilang builds its melody without Re or Dha. Its upward path reaches the upper Sa through shuddha Ni; the return uses komal Ni. This change of Ni gives the compact five-note shape its colour. Ga is a principal resting point, with Ni as its partner. The music has a light, pleasing character.

Notes and identity

Grammar & signature

The two forms of Ni have different jobs: N carries the line towards S↑, while n turns it down towards Pa. The return through Ma and Ga is as important as reaching the upper octave. Give Ga room to settle, and shape the turn G M G S rather than treating the descent as a ladder of equally weighted notes.

Pakad / chalan (illustrative)

• N↓ S G M P
• S↑ n P, G M G S
• n P, M G M G S

The phrases show the lower approach, the change of Ni and the return to Sa.

Phrase examples

• Ascending: S G M P N S↑.
• Descending: S↑ n P M G S.
• Returning to Ga: P M G, M G S.
• Keep Re and Dha out of these five-note phrases. Do not replace the descending n with N by habit.

Allied ragas & differentiation

• Khamaj also uses the contrast between the two forms of Ni. Its descending route includes Re and Dha; Tilang leaves both out.
• Bihag shares the upward shape S G M P N S↑. Listen to the descent: Tilang uses komal Ni and does not add Re, Dha or tivra Ma.

Related music

Explore Khayal and the roles of Vadi, Samvadi and Jati.

Compositions

• Bas kino baat chalat jiya piya mora
• Sajan tum kaahe na Hari gun gaavo