S-R-G-mM-P-D-nN-S

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A double-Ma, double-Ni raga created by Gwalior vocalist and educator Vishwanath Rao Ringe ‘Tanarang’ (also see Hemshri, Sundarkauns, and Jogeshwari Pancham). Characteristic phrases from Saraswati (RRMMP; MPDnDP; nDS) are intermingled with those of Kedar (MPDNS; PDPm; mGP; SRS; mmRS), with shuddha Ga only used in occasional avroh movements. Also see prakriti ragas including Nat Bihag, Chandni Kedar, and Manj Khamaj – and learn more about Tanarang himself in a brief bio article (“credited for composing more than 1800 bandishen in about 200 ragas…the minute details of all ragas can be heard, which not only created magic, but touched the heart…He taught music till his last breath…”).

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राग सरस्वती केदार

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Aroha: SRMPDS

Avroh: SnDP, MPDP, MmRS

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Chalan: signatures e.g. RMPDP; MPmRS; MPDnDPDS; SnDPMmR; Sn; DS (Tanarang)

—Prakash Vishwanath Ringe (2000)—

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[bandish, e.g. 0:25] (G)RMP, D(N)R S(NnDn), DPDP, PM(DP)m, SRRS, m\R RP(MP) MP, N\D D/R S\n, DP, (M)RMP, D(N)R S(NnDn)…

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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

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: Nat Bihag, Chandni Kedar, Manj Khamaj, Pancham se Gara, Shuddha Chaya, Medhavi

–Swara Geometries–

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• Core form: S–R–G–mM–P–D–nN–S

• Reverse: SrRgmMPdnS

• Complement: SrgdS

• Imperfect: 1 (Ma)

• Detached: none

• Symmetries: mirror (R—d)

• Murchanas: Jaijaiwanti set

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• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• Carnatic: ~Hamir Kalyani

S-R₂-G₃-M₁-M₂-P-D₂-N₂-N₃-S

• Jazz: ‘Lydian + Mixolydian‘

1-2-3-4-#4-5-6-b7-7-8

• Pitch classes (‘fret-jumps’):

0-2-4-5-6-7-9-10-11-0

(2–2–1–1–1–2–1–1–1)

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o • o • o o o o • o o o o

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• Tanpura: Sa–Pa

• Names: Saraswati Kedar

• Transliterations: Hindi (सरस्वती केदार); Bengali (সরস্বতী কেদারা)

—Prakash Vishwanath Ringe (2000)—