Raag Kedarकेदार
Sourced · not yet reviewed by a musician
Kalyan thaat · Audav-Shadav (vakra) · Early night
- Sunset
- Early night
- Night
Swaras and phrases
Outlined: vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Ma · samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Sa
Tap a lit note to hear it · Synthesized for study — not a recording
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa Ma Ma Pa Dha Pa Ni Dha Sa'
Source: AGK Sangeet +1
- AGK Sangeet, Raag Kedar | AGK Sangeet, aroha
- Darbar, Kedar - Darbar, aroha
- 2 of 4 sources agree
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' Ni Dha Pa Ma♯ Pa Dha Pa Ma Ma Re Sa
Source: Artium Academy
- Artium Academy, Raag Kedar page, avaroha
- 4 versions in 4 sources
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- Sa / Ma; Ma Ga Pa; Ma♯ Pa Dha \ Pa Ma -; Pa Ma \ Re Sa Re Sa
Source: AUTRIM
- AUTRIM, Kedar page, characteristic phrases
- 4 versions in 4 sources
About Kedar
Kedar is a major, serious raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary. Its strongest note is shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ma, often oscillated. Its movement is indirect: a light touch of Ga links phrases that move from Ma, and traditions differ on komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni.
Source: AUTRIM +2
Curriculum: Pracheen Kala Kendra's vocal syllabus prescribes it at Bhushan Final.
Source: PKK
- PKK, printed p.7, list of prescribed raags
How it moves
AUTRIM says moving up from Ma needs a light touch of Ga. It gives no single fixed scale.
Source: AUTRIM
- AUTRIM, Kedar page, description
AUTRIM says moving down from Ma needs a light touch of Ga; some performers show Ga more clearly in faster passages.
Source: AUTRIM
- AUTRIM, Kedar page, description
Learner focus
Keep the light Ga touch around movements from Ma, and keep the characteristic turns.
Source: AUTRIM
- AUTRIM, Kedar page, description
Caution
KomalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni may be touched between two Dha notes, especially in khayal, but many musicians avoid it.
Source: AUTRIM
- AUTRIM, Kedar page, description
Study prompts
Short exercises that restate what the cited sources say.
- Sing Sa and glide up to Ma, then hold Ma.
- Sing Ma(tivra) Pa Dha, glide down to Pa, and rest on Ma.
- KomalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni is optional between two Dha notes and many musicians avoid it. Listen for whether a recording uses it.
Variants
- Some musicians show Ga more explicitly in faster passages.
Source: AUTRIM
- AUTRIM, Kedar page, description
- KomalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni is optional between two Dha notes, especially in khayal. A clear komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni is sometimes called Chandani Kedar; Maluha and Jaladhar Kedar are named varieties.
Source: AUTRIM
- AUTRIM, Kedar page, description
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- Thaat4 of 4 sources agree
- Jati2 of 4 sources agree
- Time5 of 5 sources agree
- Aroha2 of 4 sources agree
- Avaroha4 versions in 4 sources
- Pakad4 versions in 4 sources
- VadiAll 4 sources agree
- SamvadiAll 4 sources agree
Similar raags named by the sources
- Gaud Sarang: Shares the Ma(tivra) Pa / Sa approach to high Sa.
Source: AUTRIM
- AUTRIM, Kedar page, description
- Chhayanat: Shares the Ma(tivra) Pa / Sa approach to high Sa.
Source: AUTRIM
- AUTRIM, Kedar page, description
- Kamod: Shares the Ma(tivra) Pa / Sa approach to high Sa.
Source: AUTRIM
- AUTRIM, Kedar page, description
Not stated in our sources yet
The sources we cite do not state: other names. RagaPedia leaves these blank rather than guess.
Film songs
Film songs where a checked source names Kedar. Each song shows whether a musician has reviewed it yet.
Archive recordings
No archive recordings are linked to this profile yet. Browse all archive recordings.
Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
Radhika in a dhrupad
In Uday Bhawalkar's Kedar dhrupadDhrupadA Hindustani vocal form built around composed text, raag and taal, traditionally with pakhawaj accompaniment.Source: N4 §§4.1–4.3, pp. 28–30. and 1 moreMore in the glossary on AUTRIM, the lyric notes describe Radhika rejoicing after spending time with Krishna. A koel sings, lightning flashes, and she admires herself in a mirror.
Documented · Source: Uday Bhawalkar performance: Radhika song and lyric explanation
Mahadevan names O Rangrez
Shankar Mahadevan identified O Rangrez with Kedar in the quotation published by Priyaankaa Mathur in 2018. The local register records it as a statement by one of the composers, with the original event recording still uninspected.
As told by Shankar Mahadevan, quoted by Priyaankaa Mathur in Loudest, 5 November 2018 · Source: Answer to the question about blending classical music; register A02, O Rangrez connection and original-recording limit
Sources for this profile
ThaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary, time, vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, arohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary, avarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary and pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary show the version the most independent publishers print; the sources page lists every version and who prints it. Other facts follow the source cited beside them. No musician has reviewed this profile yet.
- Kedar: raag profileMusic in Motion: AUTRIM (NCPA and University of Amsterdam) · cited as AUTRIMRaag profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
- Raag KedarArtium Academy · cited as Artium AcademyA private music academy's raag page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
- Raag Kedar | AGK SangeetAGK Sangeet · cited as AGK SangeetPublic raag page; robots permits /raag/ (B-ROBOTS-AGKSANGEET.txt). No terms link was present in the page navigation/footer or sitemap. Copyright remains with the publisher; short factual field transcriptions and cited normalization only. Full fetched HTML/text is private audit evidence and must not ship. Accessed 17 October 2026.
- Kedar - DarbarDarbar · cited as DarbarPublic Raga Explorer text; /raga/ is allowed by B-ROBOTS-DARBAR.txt. Terms reviewed in B-TERMS-DARBAR.txt: proprietary content, no open license claimed. Only cited factual fields are normalized; saved HTML/text is private audit evidence, not licensed for republication. No paid video accessed. Accessed 17 October 2026.
- Raga Kedar: The Serene Night Raga of ShivaShankar Mahadevan Academy · cited as Shankar Mahadevan AcademyRobots allows public raga pages (B-ROBOTS-SHANKAR.txt). Terms reviewed in B-TERMS-SHANKAR.txt: copying/downloading is limited to personal non-commercial use, no open license. This is a local study audit with short factual transcriptions and citations; do not publish the fetched page text, exercises, or course materials. No login/course content accessed. Accessed 17 October 2026.
- Vocal Music syllabus: Prarambhik to BhushanPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.