• Raag Chandni Kedar •

S-R-G-mM-P-D-nN-S


A loosely-organised set of Kedar variations, Chandni Kedar (‘Moonlight Kedar’) is formed via minor modifications to its parent raga. As per Parrikar, who recommends a Kesarbai Kerkar mehfil rendition (Eri Ina Naina), “some suggest strengthening the komal ni and shuddha Ga in standard Kedar…others [suggest] Kedar with an added komal ni” – while Ocean of Ragas offers that “shuddha Ni is used in aroha, and komal ni is used [in avroh] as DnDP”. Refer to recordings by Shruti Sadolikar, Basavraj Rajguru, and Amir Khan (“a live performance at Imrat Khan‘s house in Kolkata…this incredible audience [were] animated throughout…”) – as well as a magical 1967 sitar-surbahar jugalbandi from Imrat & Vilayat Khan, live from the Taj Mahal. Also see Jaldhar Kedar and Saraswati Kedar.


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—Budhaditya Mukherjee (2016)—


[gat, e.g. 10:06] M(P)M DDP, m(G)m m, M(P)M P(M)P, (S)D D/RS(N)S (D)NDP, M(P)M DDP…

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):


Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.


Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

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• Prakriti: Nat Bihag, Saraswati Kedar, Manj Khamaj, Pancham se Gara, Shuddha Chaya, Medhavi

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–Swara Geometries–

Core form: SRGmMPDnNS
Reverse: SrRgmMPdnS
Negative: 5-2-5
Imperfect: 1 (Ma)
Detached: none
Symmetries: mirror (R—d)
Murchanas: Jaijaiwanti set

Quirks: maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

Carnatic: ~Hamir Kalyani
S-R2-G3-M1-M2-P-D2-N2-N3-S
Jazz: Lydian-Mixolydian
1-2-3-4-#4-5-6-b7-7-8
Pitch classes (‘fret-jumps’):
0-2-4-5-6-7-9-10-11-0
(2–2–1–1–1–2–1–1–1)

o • o • o o o o • o o o o


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• Tanpura: Sa–Pa
• Names: Chandni Kedar, Chandani Kedara

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—Vilayat & Imrat Khan (1967)—

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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

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