S-r-G-mM-P-D-N-S

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Vihang (Sanskrit for ‘Bird’) is a complex double-Ma form, most prevalent among Jaipur-Atrauli gharana vocalists. Manjiri Asanare-Kelkar’s detailed demo casts it as a ‘phrase-based’ raga, combining a Bihag core with melodies from Purva, Jait Kalyan, and Puriya, alongside connecting phrases such as MDMG, rS – also linking it Marwa and Puriya Kalyan. Tabla scholar Aneesh Pradhan recommends the renditions of Mallikarjun Mansur, which set soaring uttarang movements against Ma-mixing swoops back down towards low Sa (read more of Pradhan’s avian-themed raga writings – and also refer to recent research on the musical capabilities of birds: “In their 2020 study, Roeske & Tchernikovski compared recordings of thrush nightingales across Europe with [genres] including Western classical piano, Persian drumming, and Tunisian stambeli…When they charted integer ratios from birdsong and human music, the plots all produced a similar shape, resembling a long-stemmed flower…”). Not to be confused with the ultra-rare Vihangini, created by Agra vocalist Mani Prasad, or the similarly-titled Gagan Vihang.

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राग विहन्ग

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—Mallikarjun Mansur (1980s)—

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[refrain, e.g. 0:06] G(DM) P(MG) mGrG, G, M(DM)G M(MG)r S, SG GP(MP), M(DMD)N N(D)NDP, P(MPMP), P(DPDPD)…

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—Imagery: Indian kingfisher—

“Kingfishers are nature’s ornamented jewels. Electric blues, deep indigo, chestnut reds, vivid fuchsia, ruddy pinks, monochrome, black-and-white – these are just some of the unexpected flashes one can see in the air. India’s twelve kingfisher species belong to one of three categories – tree, water, or river – according to their habitat and behaviour…” (Divya Candade)

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—Manjiri Asanare-Kelkar: Amodini—

Here’s a transcription of Jaipur-Atrauli vocalist Manjiri Asanare-Kelkar’s demo lesson, covering her tradition’s incarnation of the raga (from her superb Amodini: The Joy of Rare Ragas series):

 

“Namaskar, today I will talk about Vihang, a ‘shade raga’. Let us begin with the bandish: D(M)P, GmG rG, PDMG rGrS, SSG GGP P(DPMP)MD, (D)rN NDP mGm, DMP GmGrG, MDS, SS(Nr)S, NDN rNDN DP, PD DN DPM GmG; SS GGP P(DPMP)MD, (D)rN NDP mGm, DMP, GmGrG.

 

As I have mentioned elsewhere, a ‘chaya’ or ‘shade’ raga is a phrase-based raga. So I will first explain the phrases in Vihang, and also mention the names of other ragas which you may feel in them.

• The first phrase (which is from Purba): DMP GmGrG, mGrG GMP, GmGrG
• The second phrase (which resembles Jait Kalyan): SSGGP, SSGGPG
• This phrase (which resembles Puriya or Puriya Kalyan): MD(N)S, SNrS, SNrN DrND N(D)P
• One more phrase (which may resemble Marwa, Puriya, or Puriya Kalyan) is DMGrS, which is joined like this: SNrN DN(D)P, MDMG GrS.
• The most important phrase is from Bihag (this is why the raga is named ‘Vihang’): NNDPM GmG, P(M)G GmG NDPM GmG.

As I mentioned in my Lajwanti video, we are now entering into an abstract zone. Consider an abstract painting, being viewed by four people. It can give each of them a different feeling, as their perspectives are different – it is a similar case with these ‘shade’ ragas. I will explain this with the help of Vihang phrases. Consider this one: (P)MDS NrS, SNrND rND N(D)P, (P)MDS, NrGrS: to different listeners, it may feel like either Marwa, Puriya, or Puriya Kalyan. And the ‘phrase within a phrase’ (a small connecting phrase) PDNDP, MDNNP can give the feel of Kalyan. Different people will get different feelings from the same phrase.

 

This abstract zone has one more angle. The example of abstract painting applies from the listener’s point of view; but the artist singing the raga does not have that liberty. They have to adhere to the framework created by that particular bandish, and improve within it. This is a very important point, and also very difficult to follow. This is why an artist should not perform these ‘shade’ ragas until they have received proper training – as a raga like Bahaduri Todi can easily become Bilaskhani Todi or even Jaunpuri, and the artist wouldn’t even realise that they had made a mess!

 

Now, I will demonstrate Vihang’s development: DMP GmGrG, MDMG rGrS NrS; S SG GP MD, DrN DNDN DP, PD DN DP(m) GmG, SG GP, P(DM)PG GmGrG, (G)mGrG, m(GrG)DMG, rGrS. This is just a small picture of Vihang. I will conclude with a bandish in tintal…”

 

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—Vihang (Amodini demo)—

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Also see Manjiri’s other Amodini demos: Abhogi Kanada, Bahaduri Todi, Baradi, Dagori, Dev Gandhar, Gauri, Hussaini Todi, Jait Kalyan, Jaitashree, Kabiri Bhairav, Kaunsi Kanada (Nayaki-ang), Khat (Asavari-ang), Khokar, Lalita Gauri, Lanka Dahan Sarang, Malavi, Maligoura, Mudriki Kanada, Ramdasi Malhar, Raisa Kanada, Shukla Bilawal, Sughrai, Suha, Vihang

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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

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

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

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

Symmetries: Mirror | Rotation | Palindr.

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

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

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Bhankari, Bhatiyar, Shuddha Basant, Lalit Pancham, Pancham, Sohini Pancham

–Swara Geometries–

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• Core form: S–r–G–mM–P–D–N–S

• Reverse: SrgmMPdNS

• Negative: 4-1-5-2

• Imperfect: 2 (re, Pa)

• Detached: none

• Symmetries: none

• Murchanas: none

–Global Translations–

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• Carnatic: ~Chayatharangini

S-R₁-G₃-M₁-M₂-P-D₂-N₃-S

• Jazz: Lydian-Ionian b2

1-b2-3-4-#4-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-1-4-5-6-7-9-11-0

(1–3–1–1–1–2–2–1)

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o o • • o o o o • o • o o

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• Tanpura: Sa–Pa

• Names: Vihang, Vihanga (not Vihangini)

• Transliterations: Hindi (विहन्ग)

—Laxmibai Jadhav (~1950s)—