S-R-G-m-P-D-N-S

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As per Ocean of Ragas, Gagan Vihang (Sanskrit: ‘Birds of Heaven’) “was composed by Pandit Dinkar Kaikini…we find features of Bihag, Savani, Nand, and Mand, although the raga maintains its independent melody [via] unique phrases such as SRPGm, GmRS, NDmP” – while others also point to the influence of Shankara. The Agra khayal innovator (also the father of tabla maestro Yogesh Samsi) recorded his creation several times, but few have followed. Compare to other members of the Bihag raganga – and also see Kaikini’s other creations, including Gunaranjani and Bayati (an intriguing ‘quarter-tonal‘ raga, adapted from a Middle Eastern maqam).

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• Raga Masterlist (1000+) •

राग गगन विहन्ग

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• Hindustani Raga Index •

—Dinkar Kaikini (1987)—

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[bandish, e.g. 1:32] GSRPm(G) m, m(GmG)P\G, GmG\R(S)G(RS), S(RSN), NSG, mG/P(SDPDPmGmP), PNS G\RS(N), NS(DP), PP(DP)D P(mPmG), G(RGmG)R\S S, GmP(SNSNDN), GSRPm(G) m…

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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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

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Bilawal thaat, Bilawal, Bihari, Tilak Kamod, Nat, Hem Bihag, Savani, Swanandi, Maluha, Mand, Chaya Malhar, Hemant, Loom, Manjari Bihag

Also compare to other members of the Bihag raganga

–Swara Geometries–

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• Core form: S–R–G–m–P–D–N–S

• Reverse: SrgmPdnS (=Bhairavi)

• Complement: SrgMdnS (=Mangal Gujari)

• Imperfect: 1 (Ni)

• Detached: none

• Symmetries: mirror (R—d)

• Murchanas: Bilawal set

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• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’) • ‘Pa-repeating‘ (poorvang and uttarang take the same ‘semitone shape’)

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–Global Translations–

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• Carnatic: ~Sankarabharanam (mela #29)

S-R₂-G₃-M₁-P-D₂-N₃-S

• Jazz: Major / Ionian

1-2-3-4-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-2-4-5-7-9-11-0

(2–2–1–2–2–2–1)

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o • o • o o • o • o • o o

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• Tanpura: Sa–Pa (+Ni)

• Names: Gagan Vihang, Gaganvihang

• Transliterations: Hindi (गगन विहन्ग)

—Kishan Patel (2020)—