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 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)—
[refrain, e.g. 1:31] SSRS, DP mP, SSRS, (S)DP, (D)mP, SSRS…
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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
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.
• Prakriti: Durga, Shuddha Malhar
–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’)
–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
—Jyotsna Bhole (~1980s)—