The Automated Transcription for Indian Music (AUTRIM) Project by NCPA and UvA


Rag Tilang primarily finds expression through semi-classical music such as thumri, although there are a few compositions in dhrupad-dhamar and khayal.

Tone material: S G m P n N

The melodic structure of Tilang is very simple.  Re and Dha are generally absent.  However a limited use of Re, only in the higher octave, is permissible and in fact encouraged (Thakur [Sangitanjali I-1) 1977: 46). The ascent includes natural Ni while the flat Ni is used in the descent. Ga and Ni are important notes.
In the semi-classical genres the exposition could include many additional notes.

Some characteristic phrases:

n \P G m G
m P N S n \P
m G \S

Time: night (Bhatkhande [KPM III] 1999: 814

Further listening:
Recording by Faiyaz Khan
Recording by Barkat Ali Khan
Recording by Begum Akhtar

Performance by Mashkoor Ali Khan

Composition: chhota khayal

मन मोहन श्याम रसिया रे
निको लागे जावूँ बलहारी
देखी छबी तिहारी

बन्सिया सुनत सब सखियाँ अायी
प्रेम रूप सब के मन भायी
देखो नटवर गिरधर (गिरीधर) मन बसिया

Oh my beloved Shyam (Krishna), I am immensely gratified looking at your mesmerising countenance. The melodious sound of your bamboo flute (bansuri) attracts all the maidens and they fall in love with you.

Tal: Tintal (medium-fast tempo)

3-27: Performance opens with phrases – G m -, m n \P and also includes a typical phrase -P-G m G-, followed by m G \S, another typical concluding movement
29-41: Movements gradually reach Ga, Ma, Pa and natural Ni
42-48: High Sa is reached, followed by n \P
54-62: S n \P G m G –
65-129: Composition begins. Note the accentuated beat of the 16-beat rhythmic cycle coinciding with Ga and the refrain with the characteristic phrase – G m P N S n P G m G -. The first line is presented with variations
130: Second line
152: Second section of the composition (antara)
180: Following line
190: Concluding line of the composition
207-225: Improvisation with words of the composition (bol alap). Note the movement including Re (211). Ga is emphasised with various phrases
246-278: Pa is in focus
286: Melody ascends further and the movements include natural Ni. Note both Ni in succession (288-290 & 292-294)

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