by Rajan P. Parrikar
First published on SAWF on May 15, 2000
Rajan P. Parrikar (Yosemite, California, 1989)
Named after Lord Shiva, the venerable Raga Kedar occupies a preeminent position in the Hindustani pantheon, beloved by both the laity and connoisseurs alike. Its structure reveals a kaleidoscope of intricate melodic gestures and a richness of character. Rarely are the core principles of Indian ragadari music so harmoniously unified as they are in Kedar. To understand this raga is to encounter the genius and workings of a superior musical intelligence. In the hands of a master, it dispenses nourishment for the soul; in less skilled hands, it can become intolerable.
Raga Kedar boasts ancient origins and finds representation across a wide spectrum of genres: dhrupad, dhamar, khayal, thumri, and more. Its abstract nature renders it notoriously elusive to capture in words. By “abstract,” we mean that it transcends the confines of scalar ragas, resisting reconstruction through linear aroha-avarohi phrases. It is far more than a sum of tonal clusters.
Throughout this discussion, M = shuddha madhyam and m = teevra madhyam.
The raga employs all shuddha swaras plus the teevra madhyam. The essence of Kedar is encapsulated in this foundational tonal sequence:
S M, M (G)P, D–>M, S R, S
The pivotal meend from D–>M is indispensable. The tonal centre of the raga is anchored by the commanding shuddha madhyam, while the pancham serves as a robust point of repose for nyasa.
Let us briefly examine the lakshanas and the supporting melodic constructs. The accompanying sound clips will elucidate and reinforce these ideas.
S R S M, M, M (G)P
The gandhar is used sparingly (alpatva) in the ascent from madhyam to pancham. A variation on the uthava (launch) – S M (G)m, P – demonstrates the nuanced interplay of the two madhyams, a hallmark of the raga. These consecutive madhyams may also appear in a descending glide: P m M. It is crucial to note that, while the madhyams are adjacent in notation, their intonation requires a subtle mediating meend or a kana-swara (grace note). Traditional dhrupad and dhamar compositions occasionally feature phrases such as G M R S or M G R S, though these have largely receded in contemporary khayal-dominated practice. Importantly, the teevra madhyam is employed sparingly compared to its shuddha counterpart and, in older accounts, may barely be acknowledged.
M, M (G)P, P (m)D–>P–>m–>M
Upon reaching the pancham, several pathways emerge. One may return to the shuddha madhyam via a meend, lightly grazing the m along the way. Alternatively, a meend originating from the dhaivat can traverse the D->P->m->M locus.
PDPP S”, S” (N)R” S”
mPDNS”R”S”
P N (N)D S”
These are some of the prescribed prayogas for an uttaranga launch.
S” R” S”, (S”)D P M
S”, S”NDPM
These descending avarohatmaka prayogas, originating from the tara shadaj, are deceptively intricate. Every step is enriched by a meend or a graceful curve. In Kedar, swara uccharana is paramount. The luscious glide from the tara shadaj to the shuddha madhyam, pausing at the dhaivat and pancham, defies precise textual depiction.
Obiter Dicta: The dhaivat, while piquant, is not a point for nyasa. The shuddha nishad occupies an ambivalent role; its usage varies based on the performer’s stylistic lineage and the composition being elaborated upon. Not all auxiliary elements of Kedar’s tapestry are delineated here. Each stylistic tradition or regional school brings its unique flavour to the raga’s interpretation, rendering Kedar a fitting metaphor for India’s diverse traditions.
The optional komal nishad, when invoked, assumes a subdued, vivadi-like role: m P D n D P. Straight tans are generally unsuited to Kedar. Instead, swara doublets (SS MM PP) and triplets (SSS MMM PPP) are favoured, demanding considerable skill. This concludes our preamble.
We inaugurate our audio parade with chants from the Bhagavad Geeta by Jitendra Abhisheki.
This popular prayer from GUDDI (1972) by Vani Jairam was composed by Vasant Desai to Gulzar‘s lyrics: humko mana ki shakti dena.
The exceptionally gifted (albeit untutored) composer O.P. Nayyar had the uncanny habit of plucking a raga-based tune out of thin air, a trait that drew admiration from his distinguished admirer Amir Khan. This sparkler from EK MUSAFIR EK HASEENA (1961) is dealt by Mohammad Rafi and Asha Bhonsle.
Another O.P. Nayyar nugget from CID 909 (1967) rendered by Asha Bhonsle and Mahendra Kapoor: jaane tamanna.
Lata Mangeshkar provides an object lesson in what it means to handle the swara gently in this MUNIMJI (1955) number. The tune by S.D. Burman is an adaptation of an older bandish as we shall later see: sajan bina neenda na aave.
Manna Dey “sweats blood and produces rubbish” whereas Lata swings by effortlessly in this number from TEL MALISH BOOT POLISH (1961) composed by Chitragupta.
The purist might wince at the contamination Kedar is subjected to in the next clip. Kedar shares some of its genetic material with ragas such as Kamod and Hameer, and film composers, driven by exigencies of the lyric, are often wont to stray. There are nevertheless clear Kedar vistas to be had in this Madan Mohan beauty, superbly delivered by Mohammad Rafi in JAHANARA (1964). The final antara is quite unKedar-like but is the piece de resistance from the point of view of the lyrics. Rajinder Kishen‘s words convey appositely what is often termed the “divine nonsense of romantic love.”
Another quasi-Kedar song from SHAGUN (1964) with music by Khaiyyam. The singers are Talat Mehmood and Mubarak Begum.
A vintage 1942 melody from BHAKT SOORDAS in Khursheed‘s voice. Gyan Dutt is the tunesmith: panchee bawara.
We conclude the ‘light’ round with a Marathi natyageeta by Vasantrao Deshpande from the play SHAKUNTALA.
Fruitful consultation with Sir Vish Krishnan and Dr. Ajay Nerurkar in compiling the ‘light’ selection above is gratefully acknowledged.
Onward now to the classical arena where we set the ball rolling with a dhrupad by the Dagar brothers, N. Zahiruddin and N. Faiyazuddin, set to Chautala: bhaja re mana Vishwanatha.
A couple of pickings from Gwalior gharana serve to introduce the khayal treatment. D.V. Paluskar sings the traditional vilambit bandish, jogi rawala. Note the play on the two madhyams about 15 seconds into the clip. The druta composition features the chestnut kanha re Nanda nandana.
Sample another popular traditional cheez in Malini Rajurkar: kanganwa mora atahi amola.
Very few musicians in our time (or before us) have attained the heights Bade Ghulam Ali Khan “Sabrang” did in the mastery of Kedar. We are pleased to offer an unpublished mehfil recording of his own vilambit composition.
To cap that, BGAK’s 3-minute commercial recording of his own cheez, E naveli nara.
In Fateh Ali Khan we have another fine Patiala statement.
The distinguished Mogubai Kurdikar brings home the standard issue Jaipur-Atrauli bandish: payo payo Rama nama.
Her daughter Kishori Amonkar, the greatest vocalist of the day.
From the Agra quarters, the constipated voice of Dinkar Kaikini.
Now for a few words on the Kedar-Chandni Kedar imbroglio. There is no consensus on just what Chandni Kedar is. It is an unnecessary distraction with which many a musician has commandeered the bragging rights that accompany the so-called “rare Raga.” Some suggest that strengthening of the komal nishad and shuddha gandhar in standard Kedar gives rise to Chandni Kedar. Others hold that Kedar with an added komal nishad is the de facto Chandni Kedar. In practice, most musicians run some minor variation on their canonical Kedar and call it “Chandni Kedar.” But these changes are academic in nature and of little significance. What we essentially have here are two names, not two ragas. So I shall leave it at that and when necessary interject with my remarks.
The following observations may be made on the Jaipur-Atrauli brand of Chandni Kedar. The gandhar is expressed more strongly in aroha, and the meend from D->P->M is de-emphasized. I recently raised the issue with a Jaipur-Atrauli Maharashtrian lady who has recorded the raga but she was unable to shed any light except to say “I got this bandish as Chandni Kedar from my guru who got it from his guru and we elaborate based on that.” At any rate the following mehfil recording of Kesarbai Kerkar‘s Chandni Kedar is a collector’s item. She seems to be in an unusually playful mood and even pauses to outline the text of the Alladiya Khan composition Eri ina naina in vilambit Ada Chautala.
It was not often that Kesarbai sang a druta composition.
Among the younger set Ashwini Bhide has been showing promise. What is most likely a “Saraspiya” composition – the well-known chatura sughara balma – in druta Ektala is elegantly rendered.
“Saraspiya” was the nom de plume of Kale Khan of Mathura (1860- 1926). He was fluent in Persian, Sanskrit and Braja and one of the great composers of his time, besides being a top-notch vocalist and sitariya. His end is shrouded in mystery. It is said that around 1926 he suddenly lost interest in all wordly things and vanished one day, never to be sighted again. His lovely compositions survive and thrive (eg. the one in Raga Paraj – Manmohan braja ko rasiya – immortalized by Faiyyaz Khan).
There has been no greater spectacle in Hindustani music than ‘Aftab-e-Mausiqui’ Faiyyaz Khan in full flow. The first clip features a nom-tom style alap. Notice the subtlety, felicity, and power in intonation – it seldom gets any better than this. The second segment contains the famous Dhamar mana taja de (documented by Bhatkhande) and is followed by the Saraspiya cheez dispensed earlier by Ashwini Bhide.
From the “Chandni Kedar – A Rare Raga” album (see my point?) of Amir Khan.
The next stop – Basavraj Rajguru‘s Chandni. He sings the traditional Kedar composition (see D.V. Palukar above) with a different spin: jogi rawala.
Finally, some real dirt on Chandni from Agrawale Asad Ali Khan. Notice the peculiar manner of the komal nishad.
Kedar is primarily a vocalist’s pastureland. The tantuvadya folks, however brilliant, fall short of capturing the raga’s soul. The blowhards fare better. Bismillah Khan pulls some delectable meends in this one. Notice also his peculiar manner of lacing the madhyam with the gandhar.
Bansuri rendition of Chandni Kedar by Vijay Raghav Rao.
The great sarangi exponent Bundu Khan‘s All India Radio recording of Chandni Kedar.
This Sitar-Surbahar duet in Chandni Kedar by Vilayat Khan and Imrat Khan is tossed in to pander to the the Vilayat acolytes.
A personal favourite, this delicious nugget of Ali Akbar Khan is part of my earliest musical memories.
The traditionally acknowledged Kedar prakars are: Shuddha Kedar, Maluha Kedar and Jaladhar Kedar. Additionally there several hybrids and variations such as Basanti Kedar (a Jaipur-Atrauli staple), Kedar Bahar, Deepak Kedar, Tilak Kedar, Shyam Kedar, Anandi Kedar, Adambari Kedar, Nat Kedar and so on.
Raga Shuddha Kedar de-emphasizes the meends and the teevra madhyam, and instead sharpens the arohatmaka shuddha nishad, as witness the following Bhimsen recording.
The counterpart of Kedar in the Carnatic paddhati is known as Hameer Kalyani. A couple of Carnatic vocal renditions are included here. The first is by the veteran vocalist, K.V. Narayanaswamy, who sings a composition of Subbariah Sastry in Aditala.
The second Carnatic offering is a Mutthuswami Dikshitar composition in the voice of Y. Sitaraman.
It is observed that the Narayanaswamy treatment has a better likeness to the Hindustani Kedar.
Our Kedar expo draws to a close with a couple of renditions by the great vaggeyekara and vidwan, Pandit Ramashreya Jha “Ramrang.” His own composition recreates the scene of a baby Krishna gambolling about the courtyard under the admiring gaze of Jashoda and the rest of the household. It has been my good fortune to have witnessed many a dramatic and impromptu performance by Jha-sahab, expressing as only he can in his lyrical manner the bhava and subtleties attending his compositions.
painjani baje jhanana jhanana
kati bajata madhura mrudu kinkina
nirakhata chhabi janani balihari
kilakata bolata hasata mana harata
“Ramrang” Nanda ajira viharata mohata nara-nari
The final item has Jha-sahab sketching an old composition, peppering the proceedings with pertinent remarks. This bandish is the original inspiration behind the Lata – S.D.Burman combine in MUNIMJI cited earlier: sajana bina neenda na aave.
Also see Variants of Kedar.