भीमसेन जोशी राग केदार

Raga Kedar, also known as Kedara, is a Hindustani classical raga. Named after Lord Shiva, the raga occupies a high pedestal in Indian classical music. It is characterised by many melodious turns. This raga is the repetition of the swaras सा and म. It is generally accepted that it displays much thermal energy and is regarded as the Raagini of Raag Deepak. While preceding from Shuddha Madhyam (m) to Pancham (P), a touch of Gandhar (G) or a smooth passage from Gandhar (G) to Pancham (P) expressed as m G P is the more common way of instant raga manifestation

Origin

The raga emerges from the Kalyan taat. This raga is named after Lord Shiva and is loved by Lord Krishna. Lord Krishna played this raga on his flute and everyone in Gokul was mesmerized.

Technical description

The raga is of shaadava-sampurna nature, i.e., in its arohana (ascent), only six notes are used, and in avarohana (descent), all seven notes are used. In general, the progression of the raga is highly non-linear, which makes it difficult to capture its essence using arohana and avarohana.

The raga uses only natural (shuddha) versions of the Second (R), Third (G) and Sixth (D), both natural and sharp (tivra) versions of the Fourth (m and M, respectively "( m- tivra, M- shuddh)" and predominantly natural versions of the Seventh (N) but occasionally also its flat (komal) version (n). ( m- tivra, M- shuddh) "both natural and sharp" (tivra) versions of the Fourth (m and M, respectively)

Arohana: S M, M'P D M , D N S`

Avarohana: S' N D P, m P D P M~ , S R S

Pakad: S M, M P, m P m P, D P M, R S

The notes of the raga are s r g m (m is tivra) p d n s.

The most prominent (vadi) note is m, and the second most prominent (samvadi) is S.

Samay

The raga is to be sung at night. It is sung in the first prahar of night. Most ragas with teevra ma (M) are sung at night (as per the time theory of ragas).

Further information

The meend from D to M via P is the heart of the raga. This phrase is repeated again and again. The G is used as a grace note in the transition from m to P. The movements in the raga from one swara to another are complicated, and the extent of use of the different swaras often depends on the singer. Kedar is one of five ragas that form the Kalyan Panchak or Panchya with Hameer, Gaud Sarang, Kamod, Chhayanat and Kedar. Kedar is an ancient raga, with different genres of classical songs, like khayals, thumris, dhrupads, as well as light classical songs based on it.

According to the Guru Granth Sahib, raga Kedara (ਕੇਦਾਰਾ) expresses and makes the mind aware of the soul's true character. It conveys the emotions of honesty, integrity and truthfulness in a practical and caring way. This approach is memorable, so that the mind is made aware, without arousing cynicism.

Variants

• Adambari Kedar
• Anandi Kedar
• Basanti Kedar
• Chandni Kedar
• Deepak Kedar
• Jaladhar Kedar
• Kedar Bahar
• Kedari Malhar
• Maluha Kedar
• Nat Kedar
• Shuddha Kedar
• Shyam Kedar
• Tilak Kedar

रात्रि के प्रथम प्रहर में गाई जाने वाली यह रागिनी करुणा रस से परिपूर्ण तथा बहुत मधुर है। इस राग में उष्ण्ता का गुण है इसलिये यह दीपक की रागिनी मानी जाती है। कुछ विद्वान इस राग के अवरोह में गंधार का प्रयोग न करके इसे औढव-षाढव मानते हैं। गंधार का अल्प प्रयोग करने से राग की मिठास और सुन्दरता बढती है। गंधार का अल्प प्रयोग मध्यम को वक्र करके अथवा मींड के साथ किया जाता है, जैसे - सा म ग प; म् प ध प ; म ग रे सा। इस अल्प प्रयोग को छोडकर अन्यथा म् प ध प ; म म रे सा ऐसे किया जाता है।

मध्यम स्वर से उठाव करते समय मध्यम तीव्र का प्रयोग किया जाता है यथा - म् प ध प ; म् प ध नि सा'; म् प ध प सा'; इस प्रकार पंचम से सीधे तार सप्तक के सा तक पहुंचा जाता है। अवरोह में निषाद का प्रयोग अपेक्षाक्रुत कम किया जाता है जैसे - सा' रे' सा' सा' ध ध प। मध्यम शुद्ध की अधिकता के कारण षड्ज मध्यम भाव के प्रयोग में निषाद कोमल का प्रयोग राग सौन्दर्य के लिये अल्प मात्रा में किया जाता है जैसे - म् प ध नि१ ध प म। दोनों मध्यम का प्रयोग साथ साथ करने से राग की सुंदरता बढती है। यह राग उत्तरांग प्रधान है।