Description
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 assume 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:
Arohana
(general discussion of arohana) – (general discussion of notation)
Avarohana
(general discussion of avarohana)
Jati
Sampurna – Sampurna – (general discussion of jati)
Vadi
Disputed – (general discussion of vadi)
Samvadi
Disputed – (general discussion of samvadi)
Time
Last part of night – (general discussion of time and rag)
That
Bhairav That – (general discussion of that)
Drone
Sa – Pa – (general discussion of drone)
Popular Songs
Selected Video
Other Sites of Interest
Indian Classical Music: Tuning and Ragas
Modes and Ragas: More Than just a Scale
Emotional responses to Hindustani Raga music: The role of musical structure
Automatic Raga Recognition in Hindustani Classical Music
Patrick Moutal. A Comparative Study of Selected Hindustānī Rāga-s based on Contemporary Practice
Automatic Tonic Identification in Indian Art Music: Approaches and Evaluation