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{{Infobox raga
{{Infobox raga
| name = Kedar
| name = Kedar
| image_name =
| image_name = Kedara Ragini.jpg
| image_alt =
| image_alt =
| thaat = [[Kalyan (thaat)|Kalyan]]
| thaat = [[Kalyan (thaat)|Kalyan]]
| type = Chanchal raga
| type = Chanchal raga
| time = 1st prahar of the night
| time = 1st prahar of Singing
| season = No specific season but sung mostly in [[rainy season]]
| season = No specific season but sung mostly in [[rainy season]]
| arohana = S M G P D N S'(Tar Saptak)
| arohana = {{svaraH|S|m|G|P|D|N|S'}}
| avarohana = S' N D P M ({{lang|hi-Latn|Tivra}}) P M R S
| avarohana = {{svaraH|S'|N|D|P|M|P|m|R|S}}
| jaati = Shaadav-Sampoorn
| jaati = Shaadav-Sampoorn
| vadi = म
| vadi = Ma
| samavadi = सा
| samavadi = Sa
| pakad = The [[pakad]] of this raga is सा म ग प मे ({{lang|hi-Latn|tivra}}) म रे सा
| pakad = The [[pakad]] of this raga is सा म ग प मे ({{lang|hi-Latn|tivra}}) म रे सा
| chalan = सा म ग प मे ({{lang|hi-Latn|tivra}}) म रे सा
| chalan = सा म ग प मे ({{lang|hi-Latn|tivra}}) म रे सा
Line 23: Line 23:


{{Hindustani Classical Music}}
{{Hindustani Classical Music}}
Raga '''Kedar''', also known as '''Kedara''', is a [[Hindustani classical music|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 [[Svara|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.
[[File:Kedara Ragini.jpg|thumb|Kedara Ragini]]
Raga '''Kedar''', also known as '''Kedara''', is a [[Hindustani classical music|Hindustani classical]] [[raga]]. Named after [[Lord Shiva]], the raga is placed on a high pedestal in the realms of Indian classical music. It is characterised by many complex turns, which are brilliantly melodious but difficult to express in words. This raag is the repetition of the swaras सा and म. It is generally accepted that there is much thermal energy in this melody and hence it 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 Raag manifestation.


== Origin ==
== Origin ==
The raga emerges from the [[Kalyan (thaat)|Kalyan]] [[thaat]]. This raga is named after [[lord Shiva]] but this raaga is loved by [[lord Krishna]]. Lord krishna played this raga on his flute and everyone in [[Gokul]] is mesmerized.
The raga emerges from the [[Kalyan (thaat)|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.


== Technical description ==
== Technical description ==
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 the essence of the raga using ''arohana'' and ''avarohana''.
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 (''{{lang|hi-Latn|tivra}}'') versions of the Fourth (m and M, respectively "( m- {{lang|hi-Latn|tivra}}, M- {{lang|hi-Latn|shuddh}})" and predominantly natural versions of the Seventh (N) but occasionally also its flat (''{{lang|hi-Latn|komal}}'') version (n). ( m- {{lang|hi-Latn|tivra}}, M- {{lang|hi-Latn|shuddh}}) "both natural and sharp" (''{{lang|hi-Latn|tivra}}'') versions of the Fourth (m and M, respectively)
The raga uses only natural (''shuddha'') versions of the Second (R), Third (G) and Sixth (D), both natural and sharp (''{{lang|hi-Latn|tivra}}'') versions of the Fourth (m and M, respectively "( m- {{lang|hi-Latn|tivra}}, M- {{lang|hi-Latn|shuddh}})" and predominantly natural versions of the Seventh (N) but occasionally also its flat (''{{lang|hi-Latn|komal}}'') version (n).


[[Arohana]]: S M, M'P D M , D N S`
[[Arohana]]: S M, M'P D M, D N S`


[[Avarohana]]: S' N D P, m P D P M~ , S R S
[[Avarohana]]: S' N D P, m P D P M~ , S R S
Line 40: Line 39:
[[Pakad]]: S M, M P, m P m P, D P M, R S
[[Pakad]]: S M, M P, m P m P, D P M, R S


The notes of the raag are s r g m (m is {{lang|hi-Latn|tivra}}) p d n s.
The notes of the raga are s r g m (m is {{lang|hi-Latn|tivra}}) p d n s.


The most prominent ([[Vadi (music)|vadi]]) note is m, and the second most prominent ([[samvadi]]) is S.
The most prominent ([[Vadi (music)|vadi]]) note is M, and the second most prominent ([[samvadi]]) is S.


== Samay (time) ==
== Samay ==
The raga is to be sung in the night. It is sung in the first [[prahar]] of night.
The raga is to be sung at night. It is sung in the first ''[[prahar]]'' of night. Most ragas with ''{{lang|hi-Latn|teevra}}'' ma (M) are sung at night (as per the time theory of ragas).
Most Ragas with ''{{lang|hi-Latn|teevra}}'' ma (M) are sung at night (as per the time theory of Ragas).


== Further information ==
== Further information ==
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 lightly as a grace note in the transition from m to P. The movements in the raga from one ''{{lang|hi-Latn|swara}}'' to another are quite complicated, and the extent of use of the different ''{{lang|hi-Latn|swaras}}'' often depends on the singer. Kedar is one of the five ragas that form the Kalyan Panchak or also called Panchya/Pancha Kalyan – Group of five similar ragas of [[Kalyan (thaat)|Kalyan Thaat]], namely [[Hameer]], [[Gaud Sarang]], Kamod, [[Chhayanat (raga)|Chhayanat]] and Kedar. Kedar is an ancient raga, with different genres of classical songs, like [[khayal]]s, [[thumri]]s, [[dhrupad]]s, as well as light classical songs based on it.
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 ''{{lang|hi-Latn|swara}}'' to another are complicated, and the extent of use of the different ''{{lang|hi-Latn|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 (raga)|Chhayanat]] and Kedar. Kedar is an ancient raga, with different genres of classical songs, like [[khayal]]s, [[thumri]]s, [[dhrupad]]s, as well as light classical songs based on it.


According to the [[Guru Granth Sahib]], raag Kedara (ਕੇਦਾਰਾ) expresses and makes the mind aware of the true character and nature of the soul. It conveys the emotions of honesty, integrity and truthfulness in a practical and caring way. This approach highlights the soul's character and is memorable, so that the mind is made aware, without arousing cynicism.
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.


== Variants ==
== Variants ==
Line 69: Line 67:


== Film songs ==
== Film songs ==
=== Language : [[Hindi]] ===
{{Copy edit|section|for=individual song titles. These should not be in italics but should be enclosed in quotes per [[WP:MOSMUSIC]]|date=May 2021}}
{| class="wikitable sortable"
!style="background:#f4a860" |Song
!style="background:#c2e7ff" |Movie
!style="background:#c2e7a3" |Composer
!style="background:#00ffff" |Singers
|-
|Dharsan Do Ghan Shyam<ref name=":6">{{Cite news|url=https://www.thehindu.com/news/cities/chennai/chen-columns/the-joy-of-hamirkalyani/article5124087.ece|title=The joy of Hamirkalyani|last=Mani|first=Charulatha|date=2013-09-13|work=The Hindu|access-date=2018-11-03|language=en-IN|issn=0971-751X}}</ref>
|[[Narsi Bhagat]]
|Shankar Rao Vyas
|[[Hemant Kumar]] & [[Manna Dey]] & [[Sudha Malhotra]] & G.S.Nepali & Ravi
|-
|Hum Ko Man Ki Shakti Dena<ref name=GaaneSuneUnsune>{{cite web|url=https://www.youtube.com/watch?v=FyG6yfoyITA |title=HumkoManKiShaktiDena|author=GoldMinesGaaneSuneAnsune|website=youtube(videostreaming)|access-date=9 May 2021}}</ref>
|[[Guddi (1971 film)]]
|[[Vasant Desai]]
|[[Vani Jairam]] & Chorus
|-
|Main Pagal Mera Manwa Pagal
|[[Ashiana]]
|[[Madan Mohan (composer)|Madan Mohan]]
|[[Talat Mahmood]]
|-
|Aap Yun Hi Agar Humse Milte Rahe<ref name=SEPLvintage>{{cite web|url=https://www.youtube.com/watch?v=3Ez_GyVEST0 |title=AapYunHiAgarHumseMilteRahe|author=SEPLvintage|website=youtube(videostreaming)|access-date=29 April 2015}}</ref>
|[[Ek Musafir Ek Hasina]]
|[[O. P. Nayyar]]
|[[Asha Bhosle]] & [[Mohammed Rafi]]
|-
|Bole To Baansuri
|[[Sawan Ko Aane Do]]
|[[Raj Kamal]]
|[[K. J. Yesudas]]
|-
|Bekas pe karam kijie ye
|[[Mughal-e-Azam]]
|[[Naushad]]
|[[Lata Mangeshkar]]
|}


=== Songs listed below sound closer to Hameer Kalyani(Carnatic) which is similar to Kedar(Hindustani).===


=== Tamil ===
=== Tamil ===
{| class="wikitable"
{| class="wikitable"
Line 93: Line 132:
| Chandrodayam Oru Pennanatho
| Chandrodayam Oru Pennanatho
| [[Chandhrodhayam]]
| [[Chandhrodhayam]]
| rowspan="5" | [[M. S. Viswanathan]]
| rowspan="3" | [[M. S. Viswanathan]]
| [[T. M. Soundararajan]], [[P. Susheela]]
| [[T. M. Soundararajan]], [[P. Susheela]]
|-
| Kannile Enna Undu
| [[Aval Oru Thodar Kathai]]
| [[P. Susheela]]
|-
|-
| Vellaikkamalathiley
| Vellaikkamalathiley
| [[Gowri Kalyanam]]
| [[Gowri Kalyanam]]
| [[Soolamangalam Rajalakshmi]]
| [[Soolamangalam Rajalakshmi]]
|-
| Aval Oru Navarasa
| [[Ulagam Sutrum Valiban]]
| [[S. P. Balasubrahmanyam]]
|-
|-
| Kaaluku Keezhe Naluvuthu
| Kaaluku Keezhe Naluvuthu
| Silambu
| Silambu
| [[K. S. Chitra]]
| rowspan=2|[[K. S. Chitra]]
|-
| Netru parthatho
| En Kanavar
| [[S. P. Venkatesh]]
|-
|-
| Yeriyile Oru Kashmir Roja
| Yeriyile Oru Kashmir Roja
Line 128: Line 163:
|-
|-
| Inimel Naalum
| Inimel Naalum
| Iravu Pookal
| [[Iravu Pookkal]]
| [[S. Janaki]]
| [[S. Janaki]]
|-
|-
| Nila Kaikiradhu
| Nila Kaikiradhu
| [[Indira (film)|Indira]]
| [[Indira (film)|Indira]]
| rowspan="3" | [[A. R. Rahman]]
| rowspan="4" | [[A. R. Rahman]]
| [[Hariharan (singer)|Hariharan]], [[Harini (singer)|Harini]]
| [[Hariharan (singer)|Hariharan]], [[Harini (singer)|Harini]]
|-
|-
Line 144: Line 179:
| [[Ratchagan]]
| [[Ratchagan]]
| [[Srinivas (singer)|Srinivas]]
| [[Srinivas (singer)|Srinivas]]
|-
| Murali Mogha
| [[Atrangi Re|Galatta Kalyanam]]
| [[Haricharan]], [[K. S. Chitra]]
|-
|-
| Manasukkul
| Manasukkul
| [[Kalyana Agathigal]]
| [[Kalyana Agathigal]]
| V. S. Narasimhan
| [[V. S. Narasimhan]]
| Raj Sitaraman, [[P. Susheela]]
| Raj Sitaraman, [[P. Susheela]]
|-
|-
| Iruvathu Vayathu Varai
| Iruvathu Vayathu Varai
| [[Kannodu Kanbathellam]]
| [[Kannodu Kanbathellam]]
| [[Deva (composer)|Deva]]
| rowspan=2|[[Deva (composer)|Deva]]
| [[Hariharan (singer)|Hariharan]], [[S. Janaki]]
| [[Hariharan (singer)|Hariharan]], [[S. Janaki]]
|-
| Pirivellam
| [[Soori (2003 film)|Soori]]
| [[Harish Raghavendra]], [[Chinmayi]]
|}
|}



=== Language : [[Telugu Language|Telugu]] ===

{| class="wikitable sortable"
!style="background:#f4a860" |Song
!style="background:#c2e7ff" |Movie
!style="background:#c2e7a3" |Composer
!style="background:#00ffff" |Singers
|-
|Sridevini
|[[Sri Venkateswara Mahatyam]]
|[[Pendyala (composer)]]
|[[S. Varalakshmi]]
|-
|Sadhinchanouna
|[[Rahasyam (1967 film)]]
|[[Ghantasala (musician)]]
|[[Ghantasala (musician)]] & [[P. Susheela]]
|-
|Nee Madhu Murali gaana leela
|[[Bhakta Jayadeva]]
|[[S. Rajeswara Rao]]
|[[Ghantasala (musician)]]
|-
|Lalitha Kalaradhanalo
|[[Kalyani (1979 film)]]
|[[Ramesh Naidu]]
|[[S. P. Balasubrahmanyam]]
|}
=== Hindi ===
=== Hindi ===
Following are the filmy songs in Raaga Kedar and the film in which the song was there and also the singer :
Following are the films that used material from raga Kedar:
* {{transl|hi|Bekas pe karam kijie ye}} - [[Mughal-e-Azam]] (1960)- [[Lata Mangeshkar]]
* {{transl|hi|Bekas pe karam kijie ye}} - [[Mughal-e-Azam]] (1960)- [[Lata Mangeshkar]]
* {{transl|hi|Bole to bansuri kahi}} - [[Sawan Ko Aane Do]] (1979)- [[Yesudas]]
* {{transl|hi|Bole to bansuri kahi}} - [[Sawan Ko Aane Do]] (1979)- [[Yesudas]]
Line 164: Line 236:


== References ==
== References ==
{{reflist}}
* https://chrandrakanta.com/

* http://www.tanarang.com/english/kedar_eng.htm
== Sources ==
* https://www.parrikar.org/hindustani/kedar/
* [https://chrandrakanta.com/ Chandra Kanta]
* https://www.parrikar.org/hindustani/variants-kedar/
* {{Cite web|title=Raag Kedar – Indian Classical Music – Tanarang.com|url=http://www.tanarang.com/english/kedar_eng.htm|access-date=2021-05-31|website=www.tanarang.com}}
* {{Cite web|title=Raga Kedar – A Perspective|url=https://www.parrikar.org/hindustani/kedar/|access-date=2021-05-31|website=Rajan Parrikar Music Archive|language=en-US}}
* {{Cite web|title=On the Variants of Kedar|url=https://www.parrikar.org/hindustani/variants-kedar/|access-date=2021-05-31|website=Rajan Parrikar Music Archive|language=en-US}}


== External links ==
== External links ==
* [http://www.parrikar.org/hindustani/kedar/ Raga Kedar – A Perspective]
* [http://www.parrikar.org/hindustani/kedar/ Raga Kedar – A Perspective]
* [https://web.archive.org/web/20070514235610/http://www.itcsra.org/sra_others_samay_index.html SRA on Samay and Ragas]
* [https://web.archive.org/web/20070514235610/http://www.itcsra.org/sra_others_samay_index.html SRA on Samay and Ragas]
* [https://web.archive.org/web/20070514234610/http://www.itcsra.org/sra_raga/sra_raga_that/sra_raga_that_index.html SRA on Ragas and Thaats]
* {{Cite web|url=http://www.itcsra.org/sra_raga/sra_raga_that/sra_raga_that_index.html|title=Know your Raga : Thaat|date=14 May 2007|archive-url=https://web.archive.org/web/20070514234610/http://www.itcsra.org/sra_raga/sra_raga_that/sra_raga_that_index.html|archive-date=14 May 2007}}
* [https://web.archive.org/web/20070510143551/http://www.sawf.org/music/articles.asp?pn=Music Rajan Parrikar on Ragas]
* {{Cite web|url=http://www.sawf.org/music/articles.asp?pn=Music|title=Sawf Archive of Articles on Classical Indian Music|date=10 May 2007|archive-url=https://web.archive.org/web/20070510143551/http://www.sawf.org/music/articles.asp?pn=Music|archive-date=10 May 2007}}
* [http://oceanofragas.com/ocean_htmlpages/kedar.html More details about raga Kedar]
* {{Cite web|url=https://oceanofragas.com/ocean_htmlpages/kedar.html|title=Ocean Of Ragas|website=oceanofragas.com}}


{{Rāgas as per Performance Time}}
{{Rāgas as per Performance Time}}

Latest revision as of 08:03, 19 August 2024

Kedar
ThaatKalyan
TypeChanchal raga
Time of day1st prahar of Singing
SeasonNo specific season but sung mostly in rainy season
ArohanaS M G P D N Ṡ
AvarohanaṠ N D P M̄ P M R S
PakadThe pakad of this raga is सा म ग प मे (tivra) म रे सा
Chalanसा म ग प मे (tivra) म रे सा
VadiMa
SamavadiSa
SynonymHameer raga
EquivalentHameer, Gaud Sarang, Kamod, Chhayanat.
Similarraga Hameer Kalyani (Carnatic raaga)
Hindustani classical music
Concepts
Genres
Thaats

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.

Origin

[edit]

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.

Technical description

[edit]

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.

Samay

[edit]

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).

Further information

[edit]

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.

Variants

[edit]
  • Adambari Kedar
  • Anandi Kedar
  • Basanti Kedar
  • Chandni Kedar
  • Deepak Kedar
  • Jaladhar Kedar
  • Kedar Bahar
  • Kedari Malhar
  • Maluha Kedar
  • Nat Kedar
  • Shuddha Kedar
  • Shyam Kedar
  • Tilak Kedar

Film songs

[edit]

Language : Hindi

[edit]
Song Movie Composer Singers
Dharsan Do Ghan Shyam[1] Narsi Bhagat Shankar Rao Vyas Hemant Kumar & Manna Dey & Sudha Malhotra & G.S.Nepali & Ravi
Hum Ko Man Ki Shakti Dena[2] Guddi (1971 film) Vasant Desai Vani Jairam & Chorus
Main Pagal Mera Manwa Pagal Ashiana Madan Mohan Talat Mahmood
Aap Yun Hi Agar Humse Milte Rahe[3] Ek Musafir Ek Hasina O. P. Nayyar Asha Bhosle & Mohammed Rafi
Bole To Baansuri Sawan Ko Aane Do Raj Kamal K. J. Yesudas
Bekas pe karam kijie ye Mughal-e-Azam Naushad Lata Mangeshkar


Songs listed below sound closer to Hameer Kalyani(Carnatic) which is similar to Kedar(Hindustani).

[edit]

Tamil

[edit]
Song Movie Composer Singer
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
Vellaikkamalathiley Gowri Kalyanam Soolamangalam Rajalakshmi
Kaaluku Keezhe Naluvuthu Silambu K. S. Chitra
Netru parthatho En Kanavar S. P. Venkatesh
Yeriyile Oru Kashmir Roja

(Ragamalika:Kedar/Hamirkalyani,Valaji)

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
Swasame Swasame

(Ragamalika:Kedar/Hamirkalyani,Maand)

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


Language : Telugu

[edit]
Song Movie Composer Singers
Sridevini Sri Venkateswara Mahatyam Pendyala (composer) S. Varalakshmi
Sadhinchanouna Rahasyam (1967 film) Ghantasala (musician) Ghantasala (musician) & P. Susheela
Nee Madhu Murali gaana leela Bhakta Jayadeva S. Rajeswara Rao Ghantasala (musician)
Lalitha Kalaradhanalo Kalyani (1979 film) Ramesh Naidu S. P. Balasubrahmanyam

Hindi

[edit]

Following are the films that used material from raga Kedar:

References

[edit]
  1. ^ Mani, Charulatha (13 September 2013). "The joy of Hamirkalyani". The Hindu. ISSN 0971-751X. Retrieved 3 November 2018.
  2. ^ GoldMinesGaaneSuneAnsune. "HumkoManKiShaktiDena". youtube(videostreaming). Retrieved 9 May 2021.
  3. ^ SEPLvintage. "AapYunHiAgarHumseMilteRahe". youtube(videostreaming). Retrieved 29 April 2015.

Sources

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