by David Courtney working tools


Rag Kalingada is very similar to Bhairav.  Unlike Bhairav, this rag is performed in the last part of the night.  There has been a strong tendency over the last few decades to take lighter interpretations of both Kalingada as well as Bhairav.  The result is that the two rags have begun to converge.  Whenever there is such a convergence, the general tendency is for rags to asume the name of Bhairav. If this tendency continues, we can expect Kalingada to completely merge with Bhairav and to lose its identity in the process.

The structure of Kalingada is very simple.  It is a sampurna - sampurna rag performed in a very straight manner.

The problems of the vadi / samvadi theory are clearly seen here.  Some say that Pa and Sa are the vadi and samvadi.  Unfortunately, there is no agreement on this point.  Ga, Dha, and Ma have also been declared to be the vadi and samvadi (in various combinations).  Kalingada's characteristics are:


Ascending structure for Kalingada
(general discussion of arohana) - (general discussion of notation)


Descending structure of Kalingada
(general discussion of avarohana)


Sampurna - Sampurna - (general discussion of jati)


Last part of night - (general discussion of time and rag)


Bhairav That - (general discussion of that)


Sa - Pa - (general discussion of drone)


For more information check out "Elementary North Indian Vocal"


Selected Video







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For comments, corrections, and suggestions, kindly contact David Courtney at david@chandrakantha.com