Kedar raag named after Lord Shiva but this raag much loved by Lord Krishna. Lord Krishna played this raag on his flute and mesmerised everyone in Gokul.
It also is known as Kedara and placed on a high pedestal in the realms of Indian classical music. It has characteristics of many multiplexes turns that are dazzlingly melodious but hard to express in words. It is serene at slower paces but becomes lively and playful as the tempo rises.
Raag Kedar emerges from the Kalyan Thaat. In this raag, Teevra Ma(t) used along with Pancham(Pa) in its Aaroh while shudh Ma used in Avroh, for example – Ma(t) Pa Dha Pa, Ma Re Sa.
Sometimes, while proceeding from Dha to Ma, both Madhyam shudh Ma and Tivra Ma(t) used together like Dha, Ma(t) Ma Re Sa. Like Hamir raag, Komal Ni(k) used to enhance the beauty of this raag.
This raag is the repetition of the swaras Sa and Ma. In general, the progression of the raga is highly non-linear, which makes it tough to capture the essence of the raga using Aaroh and Avaroh.
Traditionally, it performed from late evening to midnight.
- Thaat : Kalyan
- Jaati : Audav – Saadav
- Vadi Swara : Ma
- Samvaadi Swara : Sa
- Samay ( Time ) : Night ( 6 pm – 9 pm)
- Vajrya ( Prohibited ) swara : Re , Ga ( in Aaroh )
- Komal Swara(k) : Ni ( sometimes used to enhace beauty of this raag )
- Similar Raaga : Hamir Raag & Kamod Raag
Raag Structure : Aaroh , Avroh and Pakad
Kedar Raag Aalaap and Bandish
Aalap :
- Sa Ma Ga Pa, Ma(t) Pa Ma, Re Sa (Sa) dha pa Sa Re Sa |
- ni Sa Ma Ga Pa Ma(t) Dha – Pa – Ma(t) Pa Dha Pa Ma Re Sa |
- Pa SA – RE SA, Dha Ni SA RE Ni SA Dha – Pa, MA RE SA, (SA) Dha Pa, Dha Ni(k) Dha Pa, (Pa) Ma – Re Sa Re Sa |
