Music expresses feeling and thought, without language; it was below and before speech, and it is above and beyond all words.
Tilang is a raag. This raag occurs in the Ragmala as a ragini of Hindol . Today, it belongs to the Khamaj that (raag classification system). It is/was used a lot in the Islamic Sufi tradition and in modern singing styles such as Tumri and Ghazal. Gurbani in this raag is sprinkled with Islamic vocabulary, further highlighting its Islamic Sufi origin.
Aroh : Sa Ga, Ma Pa, Nee Saˆˆ
Avroh : Saˆˆ Nee Pa, Ma Ga, Sa
Sur : Both Nishad, ‘Re’ & ‘Dha’ are forbidden in ascending scale, rest of the notes are Sharp.
Thaat : Khmaahj
Jaati : Aurav – Aurav
Time : Third quarter of the day
Vadi : Gandhar (Ga)
Samvadi : Nishad (Nee)
Pakad : Nee Sa Ga Ma Pa, Nee Pa, Ga Ma Ga, Sa
Tilang is used by Guru Nanak (6 hymns), Guru Ram Das (3), Guru Arjan(5), Guru Tegh Bahadur (3), Kabir (1) and Namdev (2) for a total of 20 hymns.
The very popular Bani: “Sahib Mera Meharvaan” is written in this raag, the nature of the Bani is very much in keeping with the nature of Tilang.
Raag Tilang Based Songs:
Chhup gaye saare nazaare hoye kya baat ho gayi – Do Raaste
Chota sa baalama akhiyaan neend udaaye le gayo – Ragini
Rehte the kabhi jinake dil mein ham jaan se bhi – Mamta
Yahi armaan lekar aaj apne – Shabab
Itna to yaad hai mujhe – Mehboob ki Mehndi
Meri kahani bhulnevale – Deedar
Sajna sang kahe neha lagae – Main Nashe Me Hun
Lagan tose lagi balma – Dekh Kabir Roya