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

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An early night raga, Kedar is 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) – as well as being mythically connected to Lord Shiva (“Seeking to evade the Pandavas after the Kurukshetra war, Shiva took refuge in Kedarnath in the form of a bull…”). The raga is generally regarded as particularly subtle, complex, and hard-to-perform – partly due to its wide aroha jump from Sa to ma (e.g. SmGP). Ga, when present, is often treated subliminally, and some renditions include touches of komal ni (melodic summary below). Deepak Raja notes that “Not long ago, the raga was probably pentatonic [SRmPDS], but subsequent melodic enhancements have been made…At the lower end of the ascent, SmmP became SmGP; and PPDPm gave way to MPDPm. The traditional antara ascent PPS was replaced by MPS or MPDNS. In descent, SDDP yielded to SDNDP, and mSRS was replaced by mGmRS or mRS”. 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!” [listen to Allabande Khan’s interpretation – and thanks to Jalsa-Ghar for retelling this tale in video format in Jan 2026!]. Browse vocal renditions by Rashid Khan, Nirali Kartik, & Suchismita Das, and instrumental takes from Amjad Ali Khan, Buddhadev DasGupta, & Shivkumar Sharma – and compare to derivatives including Chandni Kedar, Jaldhar Kedar, and Saraswati Kedar.

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राग केदार

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• Hindustani Raga Index •

Aroha: SmGP, MPDNS

Avroh: NSDNDP, MPDPm, mRS

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Pakad: e.g. SmGP; MPDPm

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

• Shuddha Re is omitted in aroha, and motions between Sa-ma, ma-Pa, and Pa-Sa are strong throughout – evident in pakads of Sm; m(G)P; MPDPm; MPDNS

• Shuddha ma is more prominent than tivra Ma, vital to the wide-jumping Sm launch phrase – with both Ma variants used in characteristic mid-scale motions (e.g. mGPMP; PMPDPm; DP(M)m)

• Descending lines take intricate, winding paths (e.g. NSDNDP; DMPm; mSRS) – elaborated with graceful connecting glides such as D\m; S(NDP)m; M(DPM)m

• Older interpretations downplay the role of tivra Ma and shuddha Ni, focusing on the historic pentatonic core of SRmPDS (e.g. SmmP; PPDPm; PPS; SDDP; mSRS: see Jaldhar Kedar) – while modern takes may include shades of komal ni

• Traditionally linked to fire, heat, and Lord Shiva, with ragmala paintings depicting it as an ascetic lost in meditation – and typically presented in a reverent, serene style, suited to the post-sunset hours

• Compositions •

—Buddhadev DasGupta (Senia-Shahjahanpur sarod):

• [tintal] MPDPm mG mR, (SN)S SSRS (G)m, mG(M)P

—Kala Ramnath & Purbayan Chatterjee (Mewati violin/Maihar sitar):

• [tintal] MP (D)S\D, P(MPM), P(M), PMDPm, G(m) m(G)

—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)—