Hindustani raga
Jod raga of Kedar and Bahar.
Your guide to Kedar Bahar
New to classical music — moods, stories, film songs and simple listening.
Press play to hear the notes of Kedar Bahar, rising then falling.
Shringar. Traditionally heard at spring night.
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Think of a raga as more than a scale: a set of rules and a personality. Kedar Bahar has its own notes, its own favourite phrases, its own time of day and its own mood, the way a person has a recognisable voice and way of talking.
Kedar Bahar sounds soft and wistful, in a mood closer to a Western minor key. Its emotional colour is love and beauty, sometimes the sweet ache of missing someone. Traditionally it is traditionally performed in the spring night, because Indian musicians believe each raga matches the feeling of a certain hour or season.
Jod raga of Kedar and Bahar. The beauty of Kedar Bahar comes from patience: a good performer doesn't rush through the scale but lingers, bending into notes and letting each phrase breathe, so the mood builds slowly until it fills the room.
Listening exercise: Try this: press "Full scale" above, then open one of the recordings below. In the first few minutes, see if you can hear the melody circling back to Sa. Once you catch it, you've started to recognise Kedar Bahar.
Hindustani ragas mostly developed through oral tradition, passed guru to disciple. Medieval treatises such as Sangita Ratnakara (13th c.) and the later Raga-Ragini systems grouped them into 'families'.
In the early 20th century, V. N. Bhatkhande organised Hindustani ragas into ten thaats (parent scales). Kedar Bahar is classified under Kalyan thaat. The thaat is a modern classification, not necessarily the raga's historical origin.
Each gharana (school) interprets ragas slightly differently, so a raga's phrasing has kept evolving through the 19th and 20th centuries, and further through recordings and radio.
Looking for more history…
Arohana (ascent) · 5 notes
S M P D N S'
Avarohana (descent) · 6 notes
S' n P M g M R S
Synthesised with Sa = A3. A real performance uses gamakas, meends and phrasing that a bare scale can't capture.
| Swara | Interval from Sa | Western (Sa = C) |
|---|---|---|
| Sa | Unison | C |
| Shuddh Re | Major 2nd | D |
| Komal Ga | Minor 3rd | D# |
| Shuddh Ma | Perfect 4th | F |
| Pa | Perfect 5th | G |
| Shuddh Dha | Major 6th | A |
| Komal Ni | Minor 7th | A# |
| Shuddh Ni | Major 7th | B |
Jati (Audava–Shadava). The ascent uses 5 distinct notes and the descent 6. Audava = 5, Shadava = 6, Sampurna = 7.
Vakra (zig-zag) movement. The scale doubles back on itself, so phrases have to follow its characteristic turns, not run straight up or down.
Parent scale. Kalyan thaat: Tivra Ma, all others shuddh. Equivalent to the Lydian mode and Carnatic Kalyani.
Time (Spring night). Sung during the night prahars (roughly 9 PM–3 AM). Night ragas often stress the upper tetrachord (uttaranga).
Shringar
Romance and beauty, including love in union (sambhoga) and longing in separation (viraha).
Each link opens a YouTube or Spotify search for this raga by the instrument or artist.
These ragas use exactly the same notes, though their phrasing and ornaments differ.
Same notes, but a different character because of emphasis, movement and phrasing.
Kedar Bahar is traditionally sung: Spring night.
Ragas that sound most like Kedar Bahar, and how to tell them apart.
Ragas from the same family or named after Kedar Bahar, such as Yaman and Yaman Kalyan. They are related but each has its own rules.
No well-known Hindi film song is confidently attributed to this raga yet.
No regional film song is confidently attributed to this raga yet.
Film songs often take liberties with a raga, so treat these as "based on" rather than strict renditions.
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Notation: Hindustani komal notes are lowercase (r g d n), M# = tivra Ma, ' = upper octave. Carnatic numbers mark swara variants (R1, G3, …).