ORIGIN
The hoary Raga Kedar occupies a pride of place in the Hindustani pantheon and is much loved in the ranks of both the laity and the connoisseur.
STRUCTURE
Its structure reveals a kaleidoscope of complex melodic gestures, conduct, and richness of character. It is generally accepted that it displays much thermal energy and 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 raga manifestation.
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 its essence 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 , D N 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 raga are 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.
VARIENTS
- Adambari Kedar
- Anandi Kedar
- Basanti Kedar
- Chandni Kedar
- Deepak Kedar
- Jaladhar Kedar
- Kedar Bahar
- Kedari Malhar
- Maluha Kedar
- Nat Kedar
- Shuddha Kedar
- Shyam Kedar
- Tilak Kedar
COMBINATIONS
Kedar has been combined with many other raags to form unusual and exciting jod combinations:
- Savni Kedar
- Basanti Kedar
- Kedar Bahar
- Nat Kedar
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