|Time of day||1st prahar of Singing|
|Season||No specific season but sung mostly in rainy season|
|Arohana||S M G P D N Ṡ|
|Avarohana||Ṡ N D P M̄ P M R S|
|Pakad||The pakad of this raga is सा म ग प मे (tivra) म रे सा|
|Chalan||सा म ग प मे (tivra) म रे सा|
|Equivalent||Hameer, Gaud Sarang, Kamod, Chhayanat.|
|Similar||raga Hameer Kalyani (Carnatic raaga)|
|Hindustani classical music|
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.
The raga emerges from the Kalyan thaat. 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.
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).
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.
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).
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.
|En Uyir Thozhi||Karnan||Viswanathan–Ramamoorthy||P. Susheela|
|Udaluku Uyir Kaaval||Manapanthal||P. B. Sreenivas|
|Kannizhantha||Enippadigal||K. V. Mahadevan||P. Susheela|
|Chandrodayam Oru Pennanatho||Chandhrodhayam||M. S. Viswanathan||T. M. Soundararajan, P. Susheela|
|Kannile Enna Undu||Aval Oru Thodar Kathai||P. Susheela|
|Vellaikkamalathiley||Gowri Kalyanam||Soolamangalam Rajalakshmi|
|Aval Oru Navarasa||Ulagam Sutrum Valiban||S. P. Balasubrahmanyam|
|Kaaluku Keezhe Naluvuthu||Silambu||K. S. Chitra|
|Netru parthatho||En Kanavar||S. P. Venkatesh|
|Yeriyile Oru Kashmir Roja
|Madhanamaaligai||M. B. Sreenivasan||P. Suseela, K. J. Yesudas|
|Kadhal Oviyam||Kavikkuyil||Ilaiyaraaja||Sujatha Mohan|
|Kaiyil Veenai||Vietnam Colony||Bombay Jayashree|
|Inimel Naalum||Iravu Pookkal||S. Janaki|
|Nila Kaikiradhu||Indira||A. R. Rahman||Hariharan, Harini|
|Thenali||S. P. Balasubrahmanyam, Sadhana Sargam|
|Kanava Illai Kaatra||Ratchagan||Srinivas|
|Murali Mogha||Galatta Kalyanam||Haricharan, K. S. Chitra|
|Manasukkul||Kalyana Agathigal||V. S. Narasimhan||Raj Sitaraman, P. Susheela|
|Iruvathu Vayathu Varai||Kannodu Kanbathellam||Deva||Hariharan, S. Janaki|
|Pirivellam||Soori||Harish Raghavendra, Chinmayi|
Following are the films that used material from raga Kedar: