S-R-mM-P-D-N-S

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An early night raga, Kedar is traditionally associated with heat (Tanarang: “there is much thermal energy in this melody…hence it is regarded as a ragini of Deepak“: Tansen’s legendary fire-bringing raga). Often seen as particularly subtle, complex, and hard-to-perform – partly due to its curiously wide aroha jump from Sa to Ma (depending on variant, either a perfect 4th or a full tritone: essentially half the saptak space). Ga is often treated subliminally, and some renditions include touches of komal ni. Also note an intriguing tale from the Dagarvani Dhrupad, written up in a 2001 Sruti magazine article by the Gundecha Brothers: “Zia Mohiuddin Dagar related to us a story about Allabande Khan and Zakiruddin Khan. The incident occurred around 1920: the two brothers were giving a recital of Kedar at a conference, and while singing the true form of this ancient raga, they purposely avoided singing its catchphrase. The famous musicologist Pandit V.N. Bhatkhande was seated in the audience – and even after listening to their lengthy alap, he was still unable to identify the raga, and eventually asked the Ustads for its name. Only then did they sing the common Kedar catchphrase MPDPm. At once, the entire audience exclaimed: “Oh, so this is Kedar!” […thanks to Jalsa-Ghar for retelling the tale from this page in video format in Jan 2026!]. Compare to Chandni Kedar, Jaldhar Kedar, and Saraswati Kedar.

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• Raga Masterlist (1000+) •

राग केदार

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• Hindustani Raga Index •

Aroha: SRS, SmGP, MPDNS

Avroh: NSDNDP, DMPm, mRRS

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Chalan: e.g. SRS; Sm; mGP; MPDPm; MPDNS; NSDNDP; DMPm; mRRS (Raja)

—Suchismita Das (2017)—

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[alap, e.g. 0:06] S(NS)m, m(G)m/P, (PDP)M P(MPDMP)M MP(MDP) m(Gm), Sm(GmG), (PDP)MP\R, mRSNS, S(NRS)S\D D(nDnD)P, P/S R, S(RSNS)…

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• Ragmalas •

Historic miniature paintings (learn more)

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“Kedara Ragini, wearing cape and culottes, with a crescent moon on her forehead and sitting on tiger-skin rug” (Penn, c.1800)

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• More •

Histories, melodies, mythologies, etc…

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—Pandit Motiram’s Ganesha Stuti—

Aarshin Karande’s recent rendition of a famous Mewati composition is accompanied by a lyrical translation. In his own words, “this bandish was composed by Pandit Motiram, father and guru of Pandit Jasraj. As a court musician for the Maharaja of Kashmir, Motiram created several compositions devoted to the figures of Kashmiri Shaivism, [including] this bandish. Presented humbly as an offering to the consciousness symbolized by Lord Ganesha…on the occasion of Ganesha Chaturthi”.

 

“Glory to the offspring of Lord Shiva; You, Ganesha, beloved Lord of the Ganas; Glistening vermilion forehead, stunning crown and engrossing eyes; Bejeweled garland around his throat, beautifully, four-armed you; Large-bellied and one-tusked, praises sung by the holiest beings; Whose wisdom has no end, always primordial and new in every way; Abundance, Fullness, and the Unconscious join you; Elephant-eared face with hands holding; Crimson sweets and fruits, which you place in your mouth to enjoy; ‘Moti’ [Pandit Motiram] takes your name first, with passion death cannot comprehend; And sees the destination of your home, Vaikunth, long to glimpse at your feet…”.

 

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—Aarshin Karande (2022)—

• 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

Thaat: 10 | 32 | Enclosed | Inexact

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

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

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

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

Samay: Morning | Aftern. | Eve. | Night

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Noor Sarang, Shuddha Sarang

Also compare to other members of the Kalyan raganga

–Swara Geometries–

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• Core form: S–R–mM–P–D–N–S

• Reverse: SrgmMPnS

• Complement: SrgGdnS

• Imperfect: 2 (Ma, Dha)

• Detached: none

• Symmetries: none

• Murchanas: Kedar set

–Global Translations–

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• Carnatic: ~Hameer Kalyani

S-R₂-M₁-M₂-P-D₂-N₃-S

• Jazz: Lydian (no 3rd, dbl. 4th)

1-2-4-#4-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-2-5-6-7-9-11-0

(2–3–1–1–2–2–1)

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o • o • • o o o • o • o o

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• Tanpura: Sa–Pa (+Ni)

• Names: Kedar, Kedara

• Transliterations: Hindi (केदार); Bengali (কেদারা); Punjabi (ਕੇਦਾਰਾ)

—Shivkumar Sharma (~2000s)—