Raag Kedarकेदार
Kedar is a devotional raag associated with Lord Shiva and the Kedarnath temple. Both shuddha Ma and teevra Ma↑ are used, and the ascent is vakra (zigzag).
Arohana (Ascending)
Sa → Ma → Ma↑ → Pa → Dha → Sa
Avarohana (Descending)
Sa' → Ni → Dha → Pa → Ma → Ga → Ma → Re → Sa
Pakad (Characteristic Phrase)
The pakad is the short, unmistakable melodic motif that identifies Raag Kedar. Whenever you hear or play this phrase, the raag is immediately recognizable.
About Raag Kedar
Raag Kedar is one of the most revered devotional raags in Hindustani classical music, deeply associated with Lord Shiva and the sacred Kedarnath temple in the Himalayas. It belongs to the Kalyan thaat (like Yaman and Bhupali) but distinguishes itself through a rare feature: the simultaneous use of both shuddha Ma (natural fourth) and teevra Ma↑ (sharp fourth) within the same raag. While Yaman uses only teevra Ma↑, Kedar uses both — and this dual-Ma structure is the defining characteristic of the raag.
The ascent of Kedar is vakra (zigzag): Sa → Ma → Ma↑ → Pa → Dha → Sa↑. The unusual jump from Sa directly to Ma (skipping Re and Ga in ascent) creates an immediate sense of height and expansiveness, as if the music is reaching upward toward the divine. The descent is fuller, using more notes and moving through the characteristic phrase Ni → Dha → Pa → Ma → Ga → Ma → Re → Sa, where Ma appears twice in different forms.
Kedar's Vadi is Ma and its Samvadi is Sa — the fourth degree and the root. This relationship creates a meditative, prayer-like quality: the music moves between Sa and Ma as two poles of a spiritual axis, with the other notes serving as ornamental approaches rather than independent points of emphasis. Kedar is traditionally performed late at night, and its association with devotional music means it is often heard at religious ceremonies, night-time bhajans, and temple performances.
Practice Tips for Harmonium
- 1The ascent skips Re and Ga, jumping directly Sa → Ma. Practice this unusual leap until it feels natural and open.
- 2Both shuddha Ma and teevra Ma↑ are used. Practice distinguishing them: approach shuddha Ma from below (Re → Ma) and teevra Ma↑ from below (Pa → Ma↑ going up).
- 3The Vadi Ma should feel like a point of rest. Practice ending phrases on Ma with a slight hold — feel the meditative stability.
- 4The characteristic descent phrase: Ni Dha Pa Ma Ga Ma Re Sa includes the double-Ma movement. Practice this slowly to ensure both Ma forms are clean.
- 5Kedar benefits from a devotional mindset during practice. Set a slow BPM (50–60) and practice alaap before moving to compositions.
Notable Compositions & Recordings
- ♪"Jago Mohan Pyare" — a morning bhajan traditionally sung in Kedar at the end of the night
- ♪Many Vaishnava and Shaiva bhajans use the Kedar scale for its devotional character
- ♪Pandit Kumar Gandharva's bhajans in Kedar are highly regarded for their simplicity and depth
- ♪"Payo Ji Maine Ram Ratan Dhan Payo" — a famous bhajan that is sometimes performed in Kedar