07 February, 2012


Kedar, an ancient (among our oldest raags), all time popular, late evening raag, complex, rich, and uplifting, named after the lord Shiva, or Kedar Nath who is the Lord of deep silence, of serious contemplation, the Destroyer, a formidable deity of ascetic temperament.
As such, the raag is considered to be amongst the more profound raags of the Hindustani system. In order to preserve its profundity, the musician is required to present it with a certain reverence and deliberateness. This prescription is confirmed by the raag's complex vakra [zigzag] phraseology, which would suffer a degree of "flattening out" at higher levels of swara-density.
It is performed very frequently across many gharanas and styles, with different genres of classical songs, like khayalsthumris, dhrupads, to dhamars, and semi-classical pieces, as well as light classical songs & bhajans. It is characterized by its intoxicating and soothing melody.
At an another level, Kedar’s Sanskrit meanings, ‘Mountain Lord’ and ‘Powerful’. Many Muslims instinctively say ‘Qadir’ instead of ‘Kedar’. Qadir is one of Allah’s Names. There is a consonance - Qadir means ‘samarth’ or One Who Can Do Anything. Another way of saying ‘Powerful’… Moreover, Kedar as the silent young ascetic connects with the Beatles’ Fool on the Hill, who sees the world spinning round in total silence, who never seems to answer. But in his silence, he knows what he knows. He hears God’s voice. Many feel that Raag Kedar lets us hear it, too.
Kedar, which rejoices in the beautiful name Hamir Kalyani in the Carnatic system, is a profoundly abstract raag, not easily “visualised”. The medieval Raagmala paintings depict Kedar as a young ascetic “beauteous in every limb”, his face luminous with a spiritual glow, his body smeared with ashes, doing penance before Shiva. Scholars would know better, but if ever a mudra assigns itself to Kedar it would be the “chhinn mudra”, of forefinger and thumb meeting to form a pointed antelope’s head: The mudra of cosmic search frequently depicted on Sakyamuni by sculptors and painters.
It is generally accepted that there is much thermal energy in this melody and hence it is regarded as the Raagini of Raag Deepak.
Kedar is amongst the most popular post-sunset raags.

The raag belongs to the Kalyan thaat, and within it, to the sub-group that permits twin-Ma usage - shuddh and tivra (sharp). Other popular raags in this sub-group are Hameer, Chhayanat, Kamod, Nand and Behag.
Although the contemporary raag is relatively non-controversial, it has an interesting history which impinges upon its contemporary performance. Whoever created Kedar was clearly blessed with a superior musical intelligence and a receptive heart that beat defenselessly to the powerful vibration of Onkarnaad. Music vidwans say that going by 17th century musical treatises, Kedar (which had a somewhat different structure in its medieval avatar) was one of the main raags in the repertoire of Mughal musicians.
The contemporary Kedar would be unconvincing as a representation of the daunting Lord Shiva. Apparently, the melodic enhancements have progressively diluted the raag's austere aural image, and allowed it to drift towards pronounced Lalitya --a romantic/sensual experience.
Writing in the first quarter of the 20th century, Bhatkhande provides detailed guidelines for the skilful handling of the swara enhancements that Kedar has "recently" accepted. The purpose of these guidelines would appear to be to subject the austere (probably pentatonic) image of the traditional raag form to as small a compromise as possible.
The Bhatkande guidelines suggest that the recent enhancements have probably regularised the involuntary intonations that crept into the rendition of the raag in the process of seeking the convenience of easier rendition. As in the case of many other raags, these conveniences relate to eliminating the repetitions of some swaras, and narrowing the intervals between adjacent swaras as represented in the traditional, austere, form.
Scholarly literature suggests that, not long ago, the raag was probably pentatonic (S R M P D) in the Bilawal thaat (parent scale).
Subsequent melodic enhancements have made the raag hyper-heptatonic (S R G M M^ P D n N S’) in the Kalyan thaat.
Thus, at the lower end of the ascent, S-M-M-P, became S-M-G-P; and PP-D-P-M gave way to M^-P-D-P-M. The traditional antara ascent P-P-S' was replaced by M^-P-S' or M^-P-D-N-S'. In the descent, S'-D-D-P yielded to S'-D-N-D-P, and M-S-R-S was replaced by M-G-M-R-S or M-R-S.
The aroha and aroha vakra – scales that do not follow a straight ascending and descending pattern.
As many Kalyana Thaat raags tend to bear M, this raag also uses Tivra Ma but it does not make a dominant presence as in its siblings, Yaman, Yaman Kalyana, and Hindol, for instance.
All shuddha swaras - prominent shuddha madhyam - both forms of M are used, but aroha only uses M, while the avaroh only has its instance of m, on the final end of the downgrade. 
·         Audhav - Sampurna Vakra (occasional deployment of n in Avroh & G in Aaroh
·         shaudav-sampurna
·         Audav – Saudav
S M P, M P D n D P S’
S  M, M  P, D  P, N  D,  S.
R & G forbidden  (varjya) in Aaroh, The G is used lightly, for a smooth transition from M to P = S M, G P, M D N S
S R S M - m G P - M P D N S' 
M P S' - MP DP MP S' or
MP DP S' is preferred to  
M P D N S' followed by R' S' N S D D P- D P M P m s S R s S for better effect.
The raag Kedar is instantly established, while ascending, by S, M, P -- just three notes. S, of course, is mandatory in all the raag-s (though Marwa almost tends to avoid S -- at least delays it). The remaining two notes, M and P, represent the essence of consonance in Indian music, depicting shadja-madhyama and shadja-panchama bhaava-s. So, we fully establish, without any scope for doubt, Kedar by just S, M, and P.
The meend from D to M, touching over P, is also the heart of the raag.
S’ D n D P, M P D P m, S R S
S' N D P M P D P m m R S
S  N  D  P  M’  P  D  P  M , P  M  R  S
S N D P, M P M D P M, R S
Though an occasional N in Avroh is employed viz; S' N D P M P D P m  and
n with M P D P - M P D n D P - M P m s is permitted.

m - shuddha madhyam, serves as the anchor for the entire raag.
Pakad / Mukhya-Ang
S M P, M P D P m, S R S’
S  M , M  P , D  P  M ,  P  M  R  S 
S M, G P, M P M D-P-M
Progression of the raag is highly non-linear which makes it difficult to capture the essence of the raag using aaroh and avroh.
,N S R S - m s - m s m - m P - MP DP m S R s S
Chalan (Contemporary):
S R S / S M / M G P / M^ P D P M / M^ P S' (or)
DD P S' (or) M^ P D N S' / N S' D N D P (or)
S' DD P / D M^ P M / M S R S (or) G M R S (or) M R R S


Mishra Raag

Special Svar Usage / Khaas Prayog
The movements in the raag from one swara to another are quite complicated, and the extent of use of different swaras often depend on the singer. The raag revolves around the S-M axis. A mature musician can bring Kedar to life, with just three sweeping intonations (the late Sarangi maestro, Abdul Lateef Khan do this with stunning impact):
1.      S-M,
2.      M-P,
3.      P-S'.
The jump S-M dominated Kedar similar to Bhairava, Bageshri, Bhimpalasi, Bahar Shahana, etc.  Out of these, probably, Kedar is the only raag which includes M. Raag Kedar is instantly established after listening to the notes S-M-P ---just these 3 notes. Kedar has another jump -- P to taar S' also. You can see that S is a mandatory note and M-P are essential notes of Hindustani Classical Music which represent Shadja-Madhyma and Shadja-Pancham Bhava. So without any doubt S-M-P dominate Raag Kedar.

R acts as a leading to note to S in Poorvanga.

Unlike most of the Kalyan Thaat raags, this raag tends to completely eliminate the G, and limits its use as a kan-swar (a sparing touch of a note).
The meend between tivra and shuddha madhyam is a trademark.
We have to use a touch of G when we want to go from m / M to P or a smooth passage from G to P expressed as m G P. This inclusion of G in this fashion is the more common way of instant Raag manifestation, and is like decorating Raag Kedar with additional ornaments. However, one may avoid G with repetition of m such as m m P - m p also.
Use of M inside P-D-P makes this Raag sound more attractive. In Uttaranga, for P-D-P we do not need to touch neither N nor n. So
When n included can only be used in Avroh (descending) and has to be a part of a phrase like in d-n-D-P. Ustad Faiyyaz Khan used this technique in his vocal rendition of Raag Kedar very brilliantly. Inclusion of n seems to satisfy a peculiar aesthetic need for it in several raag-s like Bhairav, Deskar, Noteworthy is the fact that R, M, D, n, and N, exist only as parts of their respective phrases: niyasa is not allowed on any of them. [You can dwell on R a little].
N is much less employed in Avroh & S' S' D P - S' R R' S' D D P etc help in eliminating N.
While descending S-S-D-P, it sounds complete only if you touch this S from Taar Saptaka twice.
However, if we do not do S’-S’ and decide to go to D-P from S then you have to touch N and not n so as make a smooth transition.

To sum up, in Kedar, S-M-P-R, and the fifth sympathizing note -- which is mandatory for a raag to be formed -- truly fulfil the aesthetics of Kedar. All other notes, M, n, and N, are there mainly for decoration purposes or for embellishment - aesthetics. Of course, it can be very rightly argued that, a raag is first and foremost, an expression of aesthetics. Shastra comes in the picture later. And that is absolutely right.
When both the lower and the higher variations of a note occur in a raag (n and N in case of Kedar), the lower variation is used when descending (avarohi). We may have inherited this aesthetically significant application from folk music. All of these characteristics of Raag Kedar have been established from our rich Indian folk music, the basis of all Raags.
Vishranti Sthan
S m P - S' P m

Saptak Pradhaanta
The poorvanga (lower tetrachord) in Kedar is almost vacant. R is included, but when you take R, you have to go back to S, to be able to go to M.
R also acts as a leading note to S. R beautifies M, being its third. Hence it is included. We cannot help singing G when we do M to P: M (G) P. G hardly amounts even to a kana-swara, but aesthetically its inclusion sounds embellishing. Also, including M in the cluster P-(M)-D-P, is natural and attractive.
Going to uttaranga (upper tetrachord), if we take P D P, and go to the taar S', we do NOT need N or n. So also, while descending, if we take S' S' D P, it sounds complete -- nothing seems to be missing. However, if we do not do S' S', and plan to go to D P from S', we automatically touch N. So, now N is included, too. But not n. We can sing kedar without taking n.

Samay / Time / Season
(9PM - 12 Night) : 2nd Prahar of the night : Ratri ka Dwitiya Prahar
Mostly the Raags with "teevra M” are sung at night (as per the time theory of Raags)


One cannot define a definite feeling associated with this raag – like that of loneliness, love, separation, happiness etc – there is no one feeling. It has a mixture of all these feelings.

Relationship with Carnatic Music
Kedar has also been adopted in the Carnatic music system, often called Kedaram.
Kritis exist by several composers, such as “Ananda Natana Prakasam,” by trinity composer Sri Mutthuswamy Dikshitar.
Relationship with Western scale

Raag Vistaar
M -   S  M , S  R  S  M ,  P – M , M’  P  D  P  M , M’  P  D  N  D  P , P  -  M , P  D  P  S. , S.  N  D  P , 
         M’  P  D  P  M , P  M  R  S
P -    M’  P ,  S  M , M  P , M’  P  D  P, M’  P  D  N  D  P ,  P  D  P  S. ,  S.  N  D  P , M’  P  D  P  M , 
         P  M  R S
S -    S , S  R  S , S .D .P , .P S , S  R  S , M  R  S , P (P) M  P  M  R S , M'  P  D  P  M , P  M  R  S , 
         P  D P  S. ,  S. N  D  P , M'  P  D  P  M , P  M  R  S
S.  -  P S. , P D P S. , M' P D P S. , S M , M P , D P , N D S. , S. R. S. , S. M. R. S. , 
        P. (P.) M. , P. M. R. S. , S. N  D  P , M'  P  D  P  M , P  M  R  S

Lakshan geet
Jao(n) Kaise Jamuna Ke Teer Eri Mai, 
Langar Kanh Mose Karat Dithai
Jal Bharane Mai to Chali Jat Rahi , 
Beech Dagar Mose Raar Machaai

0                                        3                                      X                          2
DN       S.        D     P    |   M’    P     M’PD   -P   |   M   -   -     M   |    M   G   P     P   |                                                                                                 
Ja       o(n)     Kai    se   |  Ja     mu    na -      -Ke |  Tee  -   -      r    |    E     ri Ma    i   |
M         P       MS    R    |    -      R       S          S   |  M’  P   DN   S. |    S.   M  R     S   |                                                                                                   
Lan     ga         r      Ka  |    -      nh     Mo       se  |  Ka  ra   t -    Di  |   tha   -   i       -   ||
0                           3                                  X                                 2
M’   P   D   P   |    S.      -     S.     S.     |   D       N.    S.    R.    |   N      S.    D     P    |
Ja    l  Bha  ra  |    ne      -   Mai   to      |   Cha   li      -     Ja     |   -        t      Ra   hi   |
S.     -    D   P   |   M’P    DP    M     M |    DN    S.      D    P   |   M    R    S      -      |
Bee  -    ch  Da |   ga       r-      Mo    se |    Ra     -        ar   Ma |   cha  -     I       -      |
ALAP  STHAI :        AFTER  -    Jao(n) Kaise ……….. 
         0                         3                            X                      2                                                                           
1.  SR  .NS   M  - |   M     G     P   -    |   P   (P)  M  -  |   P  M  R  S |            
2.  .NS  R.N  S   - |   MG  PM'   D   P |   M   -    P  M |   R  -    S   - |   VOCAL – Raag Kedar– Page 2
www.sharda.org – Learn Indian Music conveniently at your home
SARGAM  STHAI :          AFTER  -    Jao(n) Kaise ……….. 
      0                                 3                             X                       2                                                                                                                     
1.  M’P   DP   M      -    |  PD   M’P   S.   -   |  S.   -   D   P    |  M   -    R   S     |
        0                                3                               X                                  2                                                                                    
1.  Ja    o(n)   Kai  se   |  Ja  mu   na -    -Ke |  NS  RS  M’P  DP       | S.N  DP  MM  RS  |                                                                                             
2.  Ja    o(n)   Kai  se   |  Ja  mu   na -    -Ke |  MG  PM’  DP  M’P    | S.N  DP  MM  RS  |
3.  Ja    o(n)   Kai  se   |  Ja  mu   na -    -Ke |  M’P  DN  S.M.  M.R. | S.N  DP  MM  RS  |
4.  Ja    o(n)   Kai  se   |  .NS  RS  M’P  DP |  NS.  R.S.  M.’R  S-     | S.N  DP  MM  RS  |
5.  M’P  DN  DP M’P |  DN  S.N  DP  M’P |  DN  S.R.  S.N  DP     | M’P  DP  MM  RS  |    
ALAP  ANTARA :         AFTER  -  Jal Bharane …….
         0                             3                         X                       2
1.      M’P  DP  S.  -      |   S    R.   S.   -   |   S.   -   D    P  |   M’  P    S.    -   |
2.      MP  DN   S.  R.    |   S.   -     S.   -   |   M.  -   M.  R.|   S.   -   M’P   S. |                    
SARGAM  ANTARA :      AFTER  -  Jal Bharane ……..
         0                         3                              X                                2
        PD  M’P  S.  - |   S.R.   NS.  M.  -  |   M.’G .   P.   M.  -   |    R.   -    S.   -   |
TAANE   ANTARA  :        
       0                                   3                            X                                 2                                                                                
1.  Ja      l     Bha     ra  |    ne   -   Mai    to   |  S.N  DP  MM   RS  |  M’P  DN  S.  S.  |                                                                                        
2.  Ja      l     Bha     ra  |    ne   -   Mai    to   |  S.R.  S.N  DP  M’P |  MM  RS  DN  S. |
3.  Ja      l     Bha     ra  |    ne   -   Mai    to   |  M.M.  –R  S.N  DP |  M’P  DN  S.  S.   |
4.  Ja      l     Bha     ra  |    ne   -   Mai    to   |  S.N  DP  M’P  DN  |  S.  S.R.  S.N  DP |
5.  M.R.  S.-   R.S.  N- |  S.N  D-  ND    P-  |  DP   M-   PM   R-   |  MR   S-    P    S.  |
6.  M’P  DN  S.-  M.M.| -R.  S.N  DP  M’P | DN  S.-   M’P   DN |   S.-   M’P  DN  S.|  


Common Usage
Khayalsthumris, dhrupads, to dhamars, and semi-classical pieces, as well as light classical songs & bhajans.
Similar Raags
Pandit Bhatkhande’s Hindustani Sangeet Paddhati seems to classify four variations on Kedar:
1.      Shuddha Kedar,
2.      Chandni Kedar,
3.      Maluha Kedar and
4.      Jaladhar Kedar

Related Raags

Kedar has been combined with many other raags to form unusual and exciting jod combinations.  
1.      Savni Kedar,
2.      Basanti Kedar,
3.      Kedar Bahar, and
4.      Nat Kedar.

Do not confuse with
·         Raag Hamir kalyan (HAMIR)
·         Raag Kamod
Hindi Film Songs
1.                  Aap Yun Hi Agar Humse Milte Rahe - Mohammad Rafi, Asha http://www.youtube.com/watch?v=d6xqrLzZXK4&playnext=1&list=PLBCA7000F2DF10029 This is a pretty good example of Kedar. There is a little mixing which creeps in about a third of the way through the song, but by Bollywood standards, this mixing of non-Kedar elements is minimal from Ek Musafir Ek Hasina: O.P.Nayyar made history after he composed many songs for the Film : Ek Musafir Ek Haseena based on Raag Kedar, most notably “Aap Yun Hi Agar”,  “Hum Ko Tumhare Ishq Ne Kya’” and few more.
2.                  Aapki ankhon men kucch – Ghar Another Kedar based lovely song “Aap Ki Ankho Me” from the Film : Ghar. This is Kedarish, but don't use this if you are trying to understand the shape of Kedar.  It isn't a very good choice.
3.                  ? Bahut shukriyaa badee meherbaani - EK MUSAFIR EK HASEENA
4.                  Bekas pe karam kijie - Another song from the Film : Mughal-E-Azam “Bekas Pe Karam Kijiye” was very well composed and nobody has forgotten this song even after so many decades.
Mugal-e-Azam By her own admission, this is one of lata ji's 10 best songs...o sajana barkha bahar aay, ai dile nadan (razia sultan), and allah tero naam figure in the list too This is a very superb Kedar.  If you are looking for a film song to help you get a feel for this raag, this is a good example.
5.                  Bole to basuri kahi - Saawan Ko Aane Do
6.                  Darshan do ghanshyam - NARSI BHAGAT This is really a pretty good example of Kedar.  If you are music student struggling to get a handle on this raag, this is a pretty easy example to use. Perhaps one of the best-known bhajans in modern India is poet G.S. Nepali, sung by Hemantda, Manna Dey and Sudha Malhotra — and set in Kedar by composer Ravi. “Darshan Do Ghanashyam” using Harmonium http://dr-narasinha-kamath.sulekha.com/blog/post/2008/05/darshan-do-ghanashyam-bhajan-sung-by-dr-kamath-1.htm
7.                  Kanha Ja Rehttp://atulsongaday.wordpress.com/2009/09/08/kaanhaa-jaa-re-teri-murli-ki-dhun/ MD Chitragupt composed melodious song “Kanha Ja Re” for the Film : Tel Maalish-Boot Polish which was renderd by Lata.
8.                  Kisi Ki Yaad
9.                  Hai Agar Dushman
10.              Har Waqt Tere Husn Ka http://www.youtube.com/watch?feature=player_embedded&v=6S-c6LlsnvQ There is an occasional "accidental note" which is quite prominent. But aside from these, it is really a fairly good example of Kedar.
11.              Ham ko manki shakti dena – Guddi Other national favourites seem to include Hamko man ki shakti dena from Guddi. Vasant Desai : Now how can we forget Vasant Desai Saab who was very unlucky in Bollywood and could never make it big. Of course, I am talking about the Film : Guddi and that Kedar based lovely spiritual Bhajan “Hum Ko Man Ki Shakti Dena”. What a Beautiful Bhajan!
12.              Mai paagal mera manwa paagal - Aashiana Madan Mohan : Do you still remember that melodious song “ Main Paagal Mera Manawaa Paagal” for the Film : Ashiyana. Yes. The music was composed for this song by none other than Ghazal King (for composing Ghazals in 1950’s) MD Madan Mohan Ji. What a lovely composition! Now listen to all 3 songs "Darshan Do", "Panchhi Bawara" and "Main Paagal Mera Manawa Paagal" and you will notice that all these 3 songs sound similar because all 3 songs have used the same Bandish of Raag Kedar.
13.              Mil Ja Re Jane Jana
14.              Panchhi Bawra Chhand Se Prit Old song of 1942 “Panchhi Bawara, Chand Se Preet Lagaaye, Chand Se Preet Lagaaye” - pole star for recognizing Raag Kedar. sung by Actress Khusheed for the Film : Bhakta Surdas and music was superbly composed by Gyan Dutt and, most songs sung by Legendary Singer K. L. Saigal. “Panchhi Bawara” was the only solo female song for this Film. Brilliant Gyan Dutt used all the nuances of Raag Kedar - so if you grasp this song well you can recognize any song based on Raag Kedar. “Panchhi Bawara” remained a Pole Star for recognizing Raag Kedar only until Ravi composed that most famous Bhajan based on Raag Kedar “Darshan Do Ghanshyam Naath Mori” for the Film: Narsi Bhagat in 1957 which was sung by Hemant Kumar, Manna Dey and Sudha Malhotra. MD Ravi composed this song and made a history. Now "Darshan Do" has become Pole Star for recognizing Raag Kedar in Hindi Film Songs. - the best song ever composed on Raag Kedar. Very few people remember MD Ravi’s another two most famous Bhajans “Jai Jai He Jagadambe Maata” Film : Ganga Ki Lehere and “Jai Raghu Nandan Jai Siyaram” Film : Grihasti. Both were brilliantly composed by Ravi and both these Bhajans were based on Raag Yaman. So these are the 3 most outstanding Bhajans of Bollywood music composed by Ravi. Now, don’t you see here Ravi’s Greatness as a music composer. Hats Off to MD Ravi just for composing these 3 brilliant Bhajans.
15.              Pal do pal ka saath humara - The Burning Train R. D. Burman : R.D.Burman sort of matched his father while composing “Pal Do Pal Ka Saath Hamara” for the Film :  Burning Train and the Qawwali “Hai Agar Dushman” both based on Raag Kedar for the Film : Hum Kisi Se Kum Nahin
16.              Sajan Bina Neend Na Ave This is really a fine example of Kedar. S.D.Burman : S.D.Burman was not behind either.
17.              Taqdeer ki gardish kya kam thi by Lata
18.              Uthaaye ja unke sitam - Andaaz (old) This is not a great example of Kedar.  Do not use this if you are trying to get a handle on this raag. In Hindi Film Songs, Raag Kedar has been used sparingly by Bollywood Music Directors unlike Raag Bhairavi, Pahadi, Pilu and Yaman which have been used extensively. Naushad composed this brilliant song based on Raag Kedar  for the Film : Andaaz starring big star cast Raj Kapoor-Dilip Kumar and Nargis. And this composition is simply superb as Naushad used all the nuances of Raag Kedar very skillfully with Uthav and Chadhav and composing this song to cover all 3 octaves of the musical scale. If anybody has seen this old Film Andaaz, he will realize that Raj Kapoor was equal in acting with  Dilip Kumar. This was the only Film where Raj Kapoor and Dilip Kumar acted together.
Non-Film Ghazals
1.      Bhooli Bisri Chand http://www.youtube.com/watch?v=o0CLO7_0qa8&feature=player_embedded This is just an OK example Kedar.  It has some non-Kedar elements which pop up every now and then.
2.      gulshan gulshan shola-e-gul
Non-Film Bhajans
Classical compositions: Vocal
1.      TARANA like I always say, is the best vocal flavour of a raag: http://www.youtube.com/watch?v=THnP6xKmMBM
3.      TARANA http://www.youtube.com/watch?v=YOSh7M3BKWo&feature=youtube_gdata Ustad Aman Ali Khan was the founder of the Bhendi Bazaar gharana of khyal vocal music, known for merukhandi permutational techniques, elaborate sargams, and a relaxed yet complex approach to layakari. This is the only recording of his music I have ever heard.http://www.youtube.com/watch?v=h6ROEwWdv84
11.  Khayal http://audiofarm.org/audiofiles/11166 Kumar presents Raag Kedar. This is a remarkable Bandish. Compare it with his composition of Kabir’s Bhajan : Mai Gata – Gun Gau ’. Same Kedar but totally different moods. This is just one example of why Kumar is considered a Genius!
12.  http://www.youtube.com/watch?v=jPwvRmdFUFg an old traditional Bandish of the Jaipur Gharana in Raag Kedar
13.  Dhrupad Padma Bhushan Ustad Rahim Fahimuddin Khan's rendition of Raag Kedar released by Jecklin Records, Switzerland in 1990. Guruji opens with two mangalacharan - (i) "Sanandam Nandi Hasta Hatha Murajhara..."; and (ii) "Omkar Panjar Shukim Upanishad..." and then goes on to develop one of the most beautifully conceived aalaap, richly laden with all the ornamentation principles which are characteristic of Dagarbani dhrupad. He goes on to sing two compositions in the raag - (i) Dhrupad in Choutaal (12 beat rhythmic cycle): "Bhaja Re Man Vishwanath..."; and (ii) Dhamaar (compositional genre and 14 beat rhythmic cycle): "Maan Taj De E Ho Aali..." ably accompanied by Pandit Laxmi Narayan Pawar on the pakhawaj. The way the tanpuras are tuned and the way they create a circularity of sound enveloping the performance deserves special mention for which Guruji's disciples Friedrich Glorian and Annkatrin Jepsen must be thanked.
18.  Bhaja re mana Vishwanatha” is a dhrupad by the Dagar brothers, the dhrupad maestros.
19.  Juganava Chamaka Raho - traditional vilambit repertoire,
20.  Jogi Raawalaa - traditional vilambit repertoire
21.  Kaanha Re Nand Nandana often sung by the contemporary performer Ustad Rashid Khan, Malini Rajurkar etc. drut
22.  Kanganava Mora Atahi Amoula drut
23.  Chatura Sughara Balma drut
24.  Banvaari Mori Na Maane - Madhya-lay teen taal
Classical compositions:
3.      Violin http://audiofarm.org/audiofiles/13243 Gajananbuwa plays Raag Kedar in full. Live performance for about 30 minutes or so.
(other languages)
2.      Hi Kuni Chedili Taar from a marathi film…


NOTE: please refer to document “Notations / Swar Mapping” for abbreviations used for svaras / notations.