Jaldhar Kedar | SRmPDS | Hindustani Raga Index

S-R-m-P-D-S

Jaldhar Kedar applies the movement patterns of Kedar to the swara set of Durga, also drawing on the monsoon melodies of the Malhar family. Shuddha ma is emphasised as a nyas (e.g. SRSm; mRPm; DPm), and the Malharic Re–Pa sangati is also strong, while Durga’s mRP; mRDS is replaced by mRP; mRS; SRSm. Study notes from a K.G. Ginde lecture-demo offer a more detailed comparison with Durga and the similarly prakriti Shuddha Malhar: stating that all three ragas take a ma–Sa vadi-samvadi, but that Jaldhar Kedar is distinguished by features including a D\m glide and a mid-scale (mPDP)m ornament. Refer to renditions by Samaresh Chowdhury, Jyotsna Bhole, and Kumar Prasad Mukherjee – and compare to other Kedar-allied ragas including Chandni Kedar and Saraswati Kedar.

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राग जलधर केदार

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—Samaresh Chowdhury (~1990s)—

[refrain, e.g. 0:44] PPSS, RG(R)R, SRGP(MD)PG GR(SR)SDP, PPSS, RG(R)R…

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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 | 32 | Enclosed | Inexact

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

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

Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

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Samay: Morning | Aftern. | Eve. | Night

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Durga, Shuddha Malhar

Also see other ragas matching the generic swaras ‘Sa-Re-Ma-Pa-Dha‘

–Proximate Forms–

Bhupali = ‘Jaldhar Kedar Ga-for-ma‘

Bhavani = ‘Jaldhar Kedar no Pa‘

Gorakh Kalyan = ‘Jaldhar Kedar add ni‘

Shobhawari = ‘Jaldhar Kedar komal dha‘

(n.b. these are just ‘scalar similarities’, with nothing particular implied about phraseological overlap)

–Swara Geometries–

• Core form: S–R–m–P–D–S

• Reverse: SgmPnS (=Dhani)

• Negative: 2-2-1-2-2-2-1 (e.g. Bilawal)

• Imperfect: 1 (Dha)

• Detached: none

• Symmetries: mirror (r—P)

• Murchanas: Bhupali set

• Quirks: ‘atritonal‘ (no available tritones) • ‘maximal‘ (swaras are optimally ‘spread out’) • ‘Pa-repeating‘ (poorvang and uttarang take the same ‘semitone shape’)

–Global Translations–

• Carnatic: ~Suddha Saveri

S-R₂-M₁-P-D₂-S

• Jazz: Ritusen Pentatonic

1-2-4-5-6-8

• Pitch classes (‘fret-jumps’):

0-2-5-7-9-0

(2–3–2–2–3)

o • o • • o • o • o • • o

• Tanpura: Sa–Pa (+Ni)

• Names: Jaldhar Kedar, Jaladhar Kedara

• Transliterations: Hindi (जलधर केदार)

—Jyotsna Bhole (~1980s)—

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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!