Raga Kalingda

   About Raga Kalingda

Raga Kalingada

Raga Kalingada is very similar to Bhairav.  Unlike Bhairav, this raga 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 raga 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).

?Kalingda is one of the morning sandhiprakash  raga. This has all the seven notes both in aroh  and  avaroh  with R_and D_ being komal. Though this raga has the same notes as that of Bhairav, it differs by having different vadi and samvadi , phrases and resting notes. In addition, Kalingda has no andolan on R_and D_, and more prominence of G, which makes it distinctly different from Bhairav. Chota khayal and bhajans are more common in this raga due to its chanchal  nature.

Characteristics of Raga Kalingada :

• It is a raga of fickle nature. In this, big khayals and masitkhani songs are heard less. Raga Kalingada is less popular than raga Bhairay. 
• This is the morning sandhiprakash raga. The reason for this is that apart from being pure red soft, pure sugar and pure water are also used in it. 
• In this raga, apart from the conversational voices, the Gandhar tone shines a lot. In this, a lot of trust is placed on Gandhar. Which makes him different from Bhairay. 

Our Indian Classical Music Expert Brinda Roy Chowdhury says, “Raga Kalingada has very similar sounds like raga Bhairav. They have the same set of notes and komal swaras. Re and Dha are komal and the rest are shuddh. Jaati is sampoorna and Thaat is Bhairav. Yet the execution of the notes makes it slightly different and distinct. raga Kalingada has a soothing and calm nature. The main difference between raga Bhairav and raga Kalingada is that in raga Bhairav, we hold the komal Re for a much longer time than we can do in Kalingada. The Ga is the most dominating swara in Raga Kalingada. Aaroh: Sa Re (komal) Ga Ma Pa Dha (komal) Ni Sa. Avroh: Sa Ni Dha (komal) Pa Ma Ga Re (komal) Sa. Pakad: Dha (komal) Pa Ga Ma Ga, Ni Sa re (komal) Ga.”

Kalingada and Bhairav are so similar that it is difficult to make a distinction even in classical situations.  The inherently light treatment of the film song makes it pointless to justify a distinction.  Therefore film songs in Kalingada are categorized under the more popular heading of Bharav.


   Raga structure of Kalingda

Thaat : Bhairav

Jati : sampurna - sampurna

Aroh : Sa Re_ Ga Ma Pa Dha_ Ni Sa'

Avroh : Sa' Ni Dha_ Pa Ma Ga Re_ Sa

Vadi : Pa

Samvadi : Sa

Pakad : dha Pa , Ga Ma Ga, re Sa

Time : Last prahar of the night (3AM to 6AM)

   External Videos of Raga Kalingda

   Songs based on Raga Kalingda

Marathi songs in Raga Kalingada

1) Jalimandhi pikali karavanda

2) Tumhavar keli me marji bahal

3) Param suvasik pushpe

4) Phad sambhal turyala ga ala

5) Bugadi mazi sandali ga

6) Mam mani krushna sakha gamla

7) Baghu nako majkade



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