Combined with dhaivata as the initial and concluding note, complete, delightful to the people, having concert between dhaivata - niṣāda and ṣadja- gāndhāra, born of Bangāla deśa, bāngālī is of divine form³. This bhāṣā is full of rasa and is also dear to the deity. 50 In performance, it is characterised by smoothness and continuity by the singers bedecked with svaras.⁴ <math>(111-112)</math> Illustration - Dhārīsārīgāgādhā rīsārīmānīsānīnīsā sāsāridhāmāpā dhādhārisāmādhānidhādhā. Bāṅgālī [vi] Having madhyama as amśa, dhaivata as the concluding note, being weak in pañcama and ṛṣabha⁸, having concert between ṣadja-madhyama and ṣadja- gāndhāra, saindhavī has been known to be born of the Sindhu region and to bear a regional name.⁶ Illustration - Mā.Mādhānīdhā nīsāgāsāmāsāsāgāmāgāmā gāsānisanidhā māpāmāmāmāsāmādhāmānisāsāsāsāgārī dhānidhādhāmādhānīdhā mādhādhādhā. Saindhavī [vii] Kālingī has gāndhāra as amśa, dhaivata as the concluding note and is comprised of four svaras, being devoid of pañcama and ṛṣabha¹⁰ and weak in niṣāda. This is an antarabhāṣā and is sung by the people of Kalinga²¹⁵¹ It is beautiful and charming and is sung according to pañcama⁵² (rāga). <math>(114-115)</math> Illustration-<math>G</math>āsāmāgāmāgāsāsāsāsādhā<math>m</math>āsāsādhāmānīmāmāsāsāsāsāmā dhāmāmādhāsāsādhānīgādhā. Kāliṅgī [viii] Having ṣadjaas the concluding note, dhaivataas aniśa, gāndhāra and pañcama being omitted¹³, having concert between ṣaḍja-madhyama and similarly ṣaḍja- dhaivata, this antara-bhāṣā is sung by the Pulinda⁵³ people. It is well-known as pulindikā, is pentatonic¹² and subsists in (bhinna) sadja.54 <math>(116-117)</math>