Description
Kedar is a very old and beautiful rag. It is popular in both light and classical music. The name “Kedar” is a reference to lord Shiva.
Kedar is derived from Kalyan that, but it uses both Mas, with an occasional use of the komal Ni. This mode is very crowded; therefore attention to its characteristic movements are very important. For instance it is very common to use a meend from upper Sa down to Dha as a means of properly delineating it.
As is typical with the system of vadi and samvadi, there is some lack of agreement. The plurality of opinion have the vadi/samvadi as shuddha Ma and Sa respectively. However, there are those who opine that it should be reversed, with Sa being the vadi and shuddha Ma being the samvadi. It is interesting to note that this rag gives so much importance to the shuddha Ma, even though it is derived from Kalyan that.
In the Sikh tradition, this rag is said to convey a mood love and beautification.
Arohana
(general discussion of arohana) – (general discussion of notation)
Avarohana
(general discussion of avarohana)
Jati
Shadav – Sampurna – (general discussion of jati)
Vadi
Ma – (general discussion of vadi)
Samvadi
Sa – (general discussion of samvadi)
Time
6:00pm – 9:00pm – (general discussion of time and rag)
That
Kalyan That – (general discussion of that)
Pakad
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