Rag Kalavati has been borrowed from the South Indian tradition. In the North Indian tradition, it has been popularised by stalwarts such as Chidanand Nagarkar, Roshan Ara Begum and Gangubai Hangal (Patki [Aprakashit rag III] 1975: 32).
It has a pentatonic scale which is quite peculiar, omitting Re and Ma. Sa and Pa are the important notes. Ga and Ni can be sustained and the latter has typical oscillations (andol). Most movements in this rag are in the upper middle octave.
Tone material: S G P D n
Some characteristic phrases:
G P D n~ D \P
G \S n D /S
Rag Kalavati has similarity with rag Kalashri (vide) and rag Janasammohini. While Janasammohini also includes Re, Kalashri includes Ma as well.
Time: midnight (ibid)
Performance by Ajoy Chakrabarty
मेरा मन हर रस माता
सूरत साँवरी बतियाँ रसभरी
उनके गुनन पर जावूँ बलिहारी
My heart is stolen by the charm of my beloved. His dark countenance and loving talk enchants my soul, and I surrender to his virtues.
Tal: Tintal (medium tempo)
1-11: Performance opens with a typical glide D /S. Note the oscillations on Ni (9-10, 13-14 & 20-21)
22-33: Gliding starting and ending on Sa, including Ga which is sustained
35-47: Note again the oscillating NI, finally merging with Sa
48- 60: Ga is approached from Pa, and in the next phrase Pa is sustained, finally returns to Ga
62-71: Note a beautiful movement – D P \G /D P, followed by oscillations on Dha, returning again to Ga
73: Ascending movement with oscillations on both Ni and Dha
87-95: Intonation of this movement has a flavour of ornamentation (gamak) used in South Indian tradition
107-146: Half of the first line of the composition. Note the accentuated beat of the 16-beat rhythmic cycle coincides with Pa, one of important notes in this rag
147-163: The second half
167-191: The first line presented again with some variations
192-241: Elaborations using words of the composition (bol alap). Note a glide from lower Dha to middle Ga, D /G. Also similar gliding movements follow from lower end including the one from lower to middle Ga (224-226)
246-303: Similar elaborations continue, now moving towards the high Sa. Note Ni being oscillated so profusely (253-259 & 271-275)
304: Second part of the composition (antara)
329: The concluding line of the composition
349-370: Phrases using solfeggio (sargam). Note the juxtaposition of the phrase -n D in middle and lower octave and a glide between lower and middle Ni