Kedar (raga)

Raga Kedar, also known as Kedara, is a Hindustani classical raga. Named after Lord Shiva, the raga is placed on a high pedestal in the realms of Indian classical music. It is characterised by many complex turns, which are brilliantly melodious but difficult to express in words. This raag is the repetition of the swaras सा and म. It is generally accepted that there is much thermal energy in this melody and hence it is regarded as the Raagini of Raag Deepak. While preceding from Shuddha Madhyam (m) to Pancham (P), a touch of Gandhar (G) or a smooth passage from Gandhar (G) to Pancham (P) expressed as m G P is the more common way of instant Raag manifestation.

Kedar (raga)
ThaatKalyan
TypeChanchal raga
Time of day1st prahar of the night
SeasonNo specific season but sung mostly in rainy season
ArohanaS M G P D N S^(Tar Saptak)
AvarohanaS^ N D P M (Tivra) P M R S
PakadThe pakad of this raaga is सा म ग प मे (tivra) म रे सा
Chalanसा म ग प मे (tivra) म रे सा
Vadiम
Samavadiसा
SynonymHameer raga
EquivalentHameer, Gaud Sarang, Kamod, Chhayanat.
Similarraga Hameer Kalyani (Carnatic raaga)
Hindustani classical music
Concepts
Genres
Thaats
Kedara Ragini

Origin

The raga emerges from the Kalyan thaat. This raga is named after lord Shiva but this raaga is loved by lord Krishna. Lord krishna played this raga on his flute and everyone in Gokul is mesmerized.

Technical description

The raga is of shaadava-sampurna nature, i.e., in its arohana (ascent), only six notes are used, and in avarohana (descent), all seven notes are used. In general, the progression of the raga is highly non-linear, which makes it difficult to capture the essence of the raga using arohana and avarohana.

The raga uses only natural (shuddha) versions of the Second (R), Third (G) and Sixth (D), both natural and sharp (tivra) versions of the Fourth (m and M, respectively "( m- tivra, M- shuddh)" and predominantly natural versions of the Seventh (N) but occasionally also its flat (komal) version (n). ( m- tivra, M- shuddh) "both natural and sharp" (tivra) versions of the Fourth (m and M, respectively)

Arohana: S M, M'P D M , N D S`

Avarohana: S' N D P, m P D P M~ , S R S

Pakad: S M, M P, m P m P, D P M, R S

The notes of the raag is s r g m(m is tivra)p d n s.

The most prominent (vadi) note is m, and the second most prominent (samvadi) is S.

Samay (time)

The raga is to be sung in the night. It is sung in the first prahar of night. Most Ragas with teevra ma(M) are sung at night (as per the time theory of Ragas).

Film Songs

Language:Tamil
Song Movie Composer Singer
En Uyir Thozhi Karnan Viswanathan–Ramamoorthy P. Susheela
Kannizhantha Enippadigal K. V. Mahadevan
Chandrodayam Oru Pennanatho Chandhrodhayam M. S. Viswanathan T. M. Soundararajan,P. Susheela
Kadhal Oviyam Kavikkuyil Ilaiyaraaja Sujatha Mohan
Kaiyil Veenai Vietnam Colony Bombay Jayashree
Inimel Naalum Iravu Pookal S. Janaki
Nila Kaikiradhu Indira A. R. Rahman Hariharan,Harini
Swasame Swasame Thenali S. P. Balasubrahmanyam,Sadhana Sargam
Kanava Illai Kaatra Ratchagan Srinivas
Manasukkul Kalyana Agathigal V. S. Narasimhan Raj Sitaraman,P. Susheela
Iruvathu Vayathu Varai Kannodu Kanbathellam Deva Hariharan,S. Janaki

Language: Hindi

Following are the filmy songs in Raaga Kedar and the film in which the song was there and also the singer :

Further Information

The meend from D to M via P is the heart of the raga. This phrase is repeated again and again. The G is used lightly as a grace note in the transition from m to P. The movements in the raga from one swara to another are quite complicated, and the extent of use of the different swaras often depends on the singer. Kedar is one of the five ragas that form the Kalyan Panchak or also called Panchya/Pancha Kalyan - Group of five similar ragas of Kalyan Thaat, namely Hameer, Gaud Sarang, Kamod, Chhayanat and Kedar. Kedar is an ancient raga, with different genres of classical songs, like khayals, thumris, dhrupads, as well as light classical songs based on it.

According to the Guru Granth Sahib, raag Kedara (ਕੇਦਾਰਾ) expresses and makes the mind aware of the true character and nature of the soul. It conveys the emotions of honesty, integrity and truthfulness in a practical and caring way. This approach highlights the soul's character and is memorable, so that the mind is made aware, without arousing cynicism.

Reference

https://chrandrakanta.com

http://www.tanarang.com/english/kedar_eng.htm

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