Kalingada Raag 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 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 this raga 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

Ascending structure for Kalingada

Avarohana

Descending structure of Kalingada

ThaatBhairav
Vaadi/SamvaadiP/S
Prahar 8 (3 am - 6 am)
Important AnuvaadiG
AarohaS-r-G-m-P,P-d-N-S'
Bhaav
Shadj-Pancham
AvarohaS'-N-d-P,m-P-d-P-m-G,m-G-r-S
Saptak-pradhaanataMadhya-Tar
PakadPdPmG,GPmG-rS'N,SrG
Tanpura TuningP
Jaati
Sampoorn-Sampoorn
Other Characteristics
Similar Raagas
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Film: Baiju Bawra
Singers: Lata Mangeshkar
Taala: Keharva
Music Director: Naushad
Poet: Shakeel Badayuni
Non-Film Songs1. Man laagyo mero yaar faqeeri mein (Bhajan)
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Music Director:
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