Tilang
Appearance
Thaat | Khamaj[1] |
---|---|
Type | Audava-Audava[1] |
Time of day | 2nd Prahar of the night[1] |
Arohana | SGMPNṠ[1] |
Avarohana | SṈPMGS[1] |
Vadi | G[1] |
Samavadi | N[1] |
Similar | Jog |
Tilangis aragainIndian classical music,that belongs to theKhamajThaat.[2][1][3]
Scale[edit]
This raga has a Ni flat (ni komal) in the descent.[2][1]
Its defining characteristics are: PS'NS'nP, PS'NS'PnP; some ragis add a R (S*R*NS*PnP).
Vadi and samvadi[edit]
In Carnatic music[edit]
This raga originated in Hindustani classical music and has been taken intoCarnatic music.[4]It is derived from the 28thMelakarta(parent scale)Harikambhoji.[4]It is an audava-audava raga (pentatonic asymmetrical scale) with the following structure.[5]
Compositions[edit]
Shree Ganesha charanamcomposed byPapanasam Sivanis a popular composition set in this ragam.[4]
Ramakrishnaru Manege,Tarakka BindigeByPurandara Dasa Satyavantara SangaviraluByKanaka Dasa
Film songs[edit]
Language:Hindi[edit]
Song | Movie | Composer | Singers |
---|---|---|---|
Gori Gori Gaon Ki Gori Re | Yeh Gulistan Hamara | S. D. Burman | Lata Mangeshkar&Kishore Kumar |
Kaise Kahen Ham | Sharmeelee | S. D. Burman | Kishore Kumar |
Meri Kahani Bhulnevale Tera Jahan Abad Rahe | Deedar (1951 film) | Naushad | Mohammad Rafi |
Yahi Arman Lekar Aaj Apne Ghar Se Ham Nukale | Shabaab (film) | Naushad | Mohammad Rafi |
Sajna Sang Kahe Neha Lagae | Main Nashe Mein Hoon | Shankar–Jaikishan | Lata Mangeshkar |
Lagan Tose Lagi Balma | Dekh Kabira Roya | Madan Mohan (composer) | Lata Mangeshkar |
Chota Sa Baalama Ankhiyan Neend Udaye Le Gayo | Raagini(film 1958) | O. P. Nayyar | Asha Bhosle |
Mein Apne Aap Se Ghabra Gaya Hoon | Bindya | Iqbal Qureshi | Mohammad Rafi |
Chota Sa Baalama Ankhiyan Neend Udaye Le Gayo | Mehboob Ki Mehndi | Laxmikant–Pyarelal | Lata Mangeshkar&Mohammad Rafi |
Tamil[edit]
Language:Telugu[edit]
Song | Movie | Composer | Singers |
---|---|---|---|
Neela Kandhara | Bhookailas (1958 film) | R. Sudarsanam&R. Govardhanam | Ghantasala (musician) |
Jaya Jaya Jaya Sharada Jaya Kalabhi Sharada | Mahakavi Kalidasu | Pendyala (composer) | P. Susheela |
Naa Chandamama | Pandava Vanavasam | Ghantasala (musician) | Ghantasala (musician)&P. Susheela |
Niluvumaa Niluvumaa | Amarasilpi Jakkanna | S. Rajeswara Rao | Ghantasala (musician)&P. Susheela |
Manasaa, Kavvinchake | Pandanti Kapuram | S. P. Kodandapani | P. Susheela |
Jaamu Gadichenu Jabili Vodigenu | Mogudu-Pellalu(1985 film) | Ramesh Naidu | S. P. Balasubrahmanyam&P. Susheela |
Naalo Ninne Choodanaa | Vichitra Vivaham(1973 film) | Satyam (composer) | P. Bhanumathi |
Naa Sneham Pandi Premai Nindina Cheliya Ravela | Babu (1975 film) | K. Chakravarthy | S. P. Balasubrahmanyam |
Scale similarities[edit]
- Gambhiranataraga is a symmetrical raga with N3 (Kakali nishadha) in both ascending and descending scales,[2]while Tilang uses Kaisiki nishada (N2) in descending scale.
- Savitri raga is a symmetrical raga with N2 (Kaisiki nishadha) in both ascending and descending scales,[2]while Tilang uses Kakali nishada (N3) in ascending scale.
Hence, Tilang has arohana of Gambhiranata, and avarohana of Savitri.[2]
Notes[edit]
References[edit]
- ^abcdefghijklm"Raag Tilang – Indian Classical Music – Tanarang".tanarang.
- ^abcdefgRao, B.Subba (1996).Raganidhi: A Comparative Study Of Hindustani And Karnatak Ragas. Volume Four (Q to Z).Madras: The Music Academy. pp. 181–182.
- ^Singha, H.S. (2000).The Encyclopedia of Sikhism (over 1000 Entries).Hemkunt Publishers. p. 10.ISBN978-81-7010-301-1.Retrieved26 May2021.
- ^abcRagas in Carnatic musicby Dr. S. Bhagyalekshmy, Pub. 1990, CBH Publications
- ^Katz, J. (1992).The Traditional Indian Theory and Practice of Music and Dance.Panels of the VIIth World Sanskrit Conference / World Sanskrit Conference 7, 1987, Leiden: Panels of the VIIth World Sanskrit Conference. E.J. Brill. p. 19.ISBN978-90-04-09715-5.Retrieved27 May2021.