केदार

Kedar

A devotional evening raag using both forms of Ma, associated with prayer and spiritual depth.

Thaat
Kalyan
Jati
Audav - Sampurna
Vadi
Ma
Samvadi
Sa
Time
Evening
Moods
Devotional, Meditative, Peaceful

Overview

Raag Kedar is a deeply devotional evening raag from the Kalyan thaat that employs both shuddh Ma and tivra Ma, giving it a distinctive and emotionally rich melodic palette. It is closely associated with bhakti traditions and is often performed in a reverent, contemplative manner. The characteristic zigzag phrase movement involving both Mas is central to its identity.

This summary is designed as a learner-facing orientation. Interpretive details can vary by source and performance lineage.

Aaroh

Sa Ma(t) Ma Pa, Dha Pa Ni Sa

Avroh

Sa Ni Dha Pa Ma Ga Re Sa

Pakad / Chalan

Sa Ma Ma(t) Pa, Dha Pa, Ma Ga Re Sa

Swaras and note treatment

Uses both shuddh Ma and tivra Ma. The interplay between the two Mas defines the raag's character.

Performance notes

The Ma-Ma(t)-Pa movement is Kedar's most distinctive phrase. Ga and Re are typically approached only in descent, giving the raag an upward-aspiring quality.

Representative listening

These embeds are included as listening leads. Curated performance choices should be reviewed editorially over time.

Search: Raag Kedar Hindustani Classical

Curated YouTube search

Search for classical performances of Raag Kedar.

Bollywood listening bridge

Bollywood song to raag mappings can vary by source and interpretation.

Hari Om Tat Sat

Lal Patthar (1971)

Singer: Mohammed Rafi. Composer: Shankar-Jaikishan. Sometimes discussed as reflecting Kedar melodic patterns in film music.

Listen on YouTube

Bandishes in Kedar

Traditional compositions set in this raag.

Related raags

Derived from shared thaat, mood, or time-of-day relationships.