Raga Basanti Kedar | Oshurer Suralok Jatra Series

Raga Basanti Kedar is an exceptionally melodious and popular compound (jod) raga in Hindustani classical music. It is crafted from an exquisite fusion of two highly celebrated ragas—’Basant’ (or Vasant) and ‘Kedar’. Raga Basant is intrinsically tied to the spring season and is renowned for its joyful, celebratory essence. Kedar, conversely, is a deeply solemn, serene, and introspective raga. The union of these two contrasting ragas infuses this musical form with a unique dimension, simultaneously uplifting the listener’s spirit and evoking a profound sense of spiritual contemplation.

Raga Basanti Kedar | Oshurer Suralok Jatra Series

Traditionally, whilst this raga beautifully captures the splendour and joy of spring, it also prompts a deep reflection on the transient nature of life. This raga is particularly favoured by the exponents of the ‘Jaipur-Atrauli Gharana’, and a distinct stylistic movement is evident in their vocal renditions.

This raga is alternatively known as:

1. Raga Basant Kedar
2. Raga Basanta Kedar

Grammar and Structure (Raga Shastra)

• Thaat Alliance: Kalyan Thaat (Owing to the brilliant interplay of both natural and sharp notes, the influence of Kalyan Thaat is profoundly evident within its structure, particularly in the performance style of the Jaipur Gharana).
• Jati (Class): Sampoorna (It utilises all seven notes of the octave, incorporating specific phrases of Gandhara and Rishabha).
• Arohana (Ascent): Sa Ma, Ma Pa, Dha Pa, Ni Dha Sa’
• Arohorana (Descent): Sa’ Ni Dha Pa, Ma’ Pa Dha Pa Ma, Ga Re Sa
• Vadi Swara (Dominant Note): Shuddha Madhyama (Ma)
• Samvadi Swara (Sub-dominant Note): Shadja (Sa)
• Omitted Swaras: None (Depending on the singing style, Rishabha and Gandhara are occasionally played in an oblique or vakra phrase during the ascent, yet overall, all seven notes are employed).
• Notes Employed (Swaras): Special emphasis is laid upon Shadja, Rishabha, Gandhara, Madhyama (utilising both its natural and sharp variants), and Dhaivata.
• Time of Performance: Late afternoon or the first watch of the evening (early evening). However, during the spring season, it may be performed at any hour of the day.
• Mood and Temperament: A unique blend of vivacity and solemnity. It is typically rendered in a slow tempo (vilambit laya), relying on the subtle mastery of meend (the art of gliding smoothly from one note to another).

Application in Music Therapy

No specific reference regarding the clinical application of Raga Basanti Kedar can be found in established literature on music therapy. However, many musicologists and therapists suggest that because it incorporates the vibrancy of spring alongside the serene contentment of Raga Kedar, it helps alleviate mental fatigue. It calms an anxious mind and combats melancholy, infusing the listener with a surge of positive energy and psychological rejuvenation.

Associated Ragas

• Raga Kedar: The foundational raga, which governs the solemnity and the intricate meend movements of this compound form.
• Raga Basant: The second component of the blend, which infuses the composition with the joyous mood of spring and the brilliant use of sharp Madhyama.
• Raga Shuddha Kalyan: Possesses an indirect structural relationship as a member of the Kalyan Thaat family.
• Raga Hamsadhwani: In certain traditional compositions (bandishes) of the Jaipur Gharana, a subtle melodic echo can be observed between the vocal phrasing of Basanti Kedar’s spring segments and Hamsadhwani.

Raga Basanti Kedar stands as a magnificent testament to the beauty of raga diversity. The form it has assumed under the stewardship of the maestros of the Jaipur-Atrauli Gharana is nothing short of extraordinary. Balancing the festive spirit of spring on one side and the spiritual depth of Kedar on the other, this slow-tempo raga remains a priceless gem in the universe of classical music.

Sources and Bibliography

1. Traditional Bandishes and Vocal Anthologies of the Jaipur-Atrauli Gharana.
2. Akar Raga Darshan – Pandit Phanibhushan Bandyopadhyay.
3. Raga Vigyan – Pandit Vinayak Rao Patwardhan.