S-R-m-P-D-S

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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 descending D\m glide and a mid-scale (mPDP)m ornament. Refer to Ginde’s rendition (below), as well as those of Ramrang, Jyotsna Bhole, and Balwant Rai Bhatt – and also see other Kedar-allied ragas including Chandni Kedar and Saraswati Kedar.

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—K.G. Ginde (1985)—

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[refrain, e.g. 1:31] SSRS, DP mP, SSRS, (S)DP, (D)mP, SSRS…

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• Classifiers •

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

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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

Symmetries: Mirror | Rotation | Palindr.

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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.

• Prakriti: Durga, Shuddha Malhar

–Swara Geometries–

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• 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

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• Quirks: ‘atritonal‘ (no available tritones) • ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• 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)

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o • o • • o • o • o • • o

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• Tanpura: Sa–Pa (+Ni)

• Names: Jaldhar Kedar, Jaladhar Kedara

—Jyotsna Bhole (~1980s)—