In 1989, in Albany, New York, Pandit Buddhadev Dasgupta and Ustad Zakir Hussain gave a

mesmerizing performance of Raga Kedar, highlighting the raag's remarkable beauty and
sophisticated composition. The Kedar thaat, which includes the Raga Kedar, is typically sung in
the first hour of the night. This raag is made up of a five-note pentatonic scale. Ni Sa Ga Ma Dha
Ni Sa' is the raag's arohi (ascent), and Sa' Ni Dha Ma Ga Re Sa is its amrohi (descent). The raag's
vadi (most significant note) is the note Ga, while its samvadi (second most significant note) is
the note Ni. 'Sa Ga Ma Dha Ni Dha Ma Ga Re Sa' is the pakad (definitive phrase) of Raga Kedar.
The raag conjures up a contemplative and devout atmosphere frequently linked to Lord Shiva. In
this examination, we will delve into Raga Kedar's particular qualities and examine the various
parts of the performance.

The performance begins with an alap, a steady and slow exploration of the raag's tones. The alap
barhat, or the alap's progressive increase in tempo and intensity, starts about seven minutes into
the performance. At this point, the performers begin to include additional notes and make their
improvisation more intricate. The tabla plays gentle, understated strokes that complement the
sitar to create an introspective and peaceful tone during the alap. The jor portion begins at 18
minutes into the performance and is distinguished by a constant pulse and rhythm. Compared to
the alap, the jor emits a more upbeat and enthusiastic attitude while still preserving the raag's
reflective and introspective qualities. The performance's jhala portion, which features frantic and
repetitive string-plucking on the sitar, starts about minute 26. The performance as a whole gains
excitement and intensity from this section.

Around 32 minutes into the performance, the Vilambit portion begins and is distinguished by a
slow tempo and a 12-beat cycle (ektaal). 'Dha dhin dhin, dha ge na ti' is the bol, or rhythmic
words, that delineate the sam (initial beat of the cycle). The musicians' dexterity is displayed in
this passage, allowing for complex improvisation. The Vilambit segment has a reflective and
peaceful atmosphere. The performance's Madhya laya part, which has a quicker tempo and a 16-
beat cycle (teentaal), starts around minute 54. This section's ambiance is livelier and more
joyous, while the improvisations get trickier and more sophisticated.

The Drut laya portion, which has a blisteringly fast speed and a 16-beat cycle (teentaal), starts
around one hour and ten minutes into the performance. This section's improvisations grow
increasingly more complex and virtuoso, demonstrating the musicians' extraordinary technical
prowess and command of the raag. There are five points in the performance where the
improvisations come to a resolution on the vadi sur (Ga), respectively at 13 minutes, 26 minutes,
44 minutes, 54 minutes, and 1 hour and 10 minutes. These passages give the improvisations a
sense of closure and completion, highlighting the importance of the vadi sur in this raag.

In raga Kedar, there are multiple vistar or expansional passages that take place in between the
taans, which are quick melodic patterns made up of complex and quick note combinations. Taans
are frequently utilized to demonstrate a performer's technical mastery and to infuse the music
with an exhilarating sense of enthusiasm and energy. At about 21 minutes into the performance,
there are three specific vistar moments that deepen and elaborate the overall performance.
During the Pandit Buddhadev Dasgupta and Ustad Zakir Hussain's performance of raga Kedar, I
heard three occurrences of vistar, an Indian classical music technique:
 1. The vadi note, which has profound significance in the raga, was used to end the first taan.
The musicians used Vistar to create complex and hypnotic melodic patterns as they
explored the raga's scale's many possibilities. A steady return to the sam note, which acts
as the raga's starting point, marked the vistar's conclusion.
2. In this section, which comes between the second and third taans, the performers used
vistar to give the song a sense of tension and release. The vistar started out with a
leisurely, introspective exploration of the raga's scale before picking up speed and
intensity and entering the third taan at the end.
3. The concluding taan ended on the vadi note, as is traditional in Indian classical music.
After that, the song was concluded using vistar, which involved progressively slowing
down the speed and using prolonged notes to generate a sense of completion.

Taans are complex, quick-moving melodic rhythms that give Indian classical music its energy
and enthusiasm. Baldaar taan and larant ki taan are two forms of taans that are frequently
employed when raga Kedar is performed. Baldaar taan typically features a pattern of four or five
notes that quickly climb and decrease. Solfeggio syllables like sa, re, ga, ma, pa, dha, and ni are
commonly used to represent these notes as sargam taan. Larant ki Taan, on the other hand, entails
repeatedly playing the same set of notes in different permutations and combinations. Typically,
this kind of taan is expressed as bol taan, employing particular words or syllables to represent the
notes themselves. When the raga Kedar is performed, both the Baldaar Taan and the Larant Ki
Taan are used to demonstrate the musician's virtuosity and to enliven the audience.

Tihai is a rhythmic pattern that involves repeating a melodic phrase three times and ending on
the sam, which is the first beat of the rhythmic cycle. It is another significant musical component
in Indian classical music. Tihais are frequently employed in Indian classical music performances
to bring the performance to a satisfying conclusion. In raga Kedar, various Tihais may be utilized
in both vocal and tabla playing. An example of a vocal Tihai is the line "Dha Ni Sa, Ni Sa Re Ga
Ma Pa, Re Ga Ma Pa, Dha Ni Sa," repeated three times, ending on "Sa." Another example is the
sequence "Dha Ti Ta, Dha Ti Ta, Dha Ti Ta, Dha Ge Na, Dha Ge Na, Dha Ni Sa," which consists
of the words "Dha Ti Ta," "Dha Ge Na," and "Sa," each repeated three times. When playing the
tabla, a Tihai can be when the phrase "Dha Ti Ta" is repeated three times: "Dha Ti Ta | Dhin Dhin
Dhin | Dha Ti Ta | Dhin Dhin Dhin | Dha Ge Na | Dhin Dhin Dhin," followed by "Dha Ge Na" to
conclude on "Dha."

The use of Taans and Tihais in the performance of raga Kedar heightens the performance's
virtuosity and enthusiasm while also adding to the music's sense of finality and closure.
During the Vilambit portion of the performance, the tempo was slow and contemplative, with
sustained notes that elicited feelings of desire and yearning. Pandit Buddhadev Dasgupta and
Ustad Zakir Hussain were able to expertly capture the spirit of raga Kedar, bringing out its
underlying mood and character when performing it. In our opinion, their rendition truly captured
the essence and spirit of raga Kedar. The song expressed longing, passion, and yearning while
simultaneously showcasing the musicians' skill and igniting the audience's enthusiasm and
energy.
One component of the concert that was truly adored was Pandit Dasgupta and Ustad Zakir
Hussain's brilliance and proficiency. Their performance highlighted the raga's intricate and
complex melodic structure and revealed their comprehensive understanding of Raga Kedar's
creation. I really enjoyed the jugalbandi section of the show as the two artists traded quick-paced
and sophisticated rhythms and melodies. The Raga Kedar composition possesses a tranquil and
contemplative quality that is often accompanied by a feeling of calmness. Pandit Dasgupta's slow
and introspective alap established the mood for the raga and gradually increased the level of
difficulty and complexity as the performance progressed. As the recital went on, I experienced a
sense of serenity and tranquillity, which is a common response to the Raga Kedar composition.

At the start of the performance, Pandit Buddhadev Dasgupta provided an excellent and subtle
interpretation of the Raga Kedar melody. In Indian classical music, the "alap" is where the
performer introduces the melody and reflects on its various aspects during a serene and
introspective period. Throughout the entire alap, Pandit Dasgupta demonstrated his mastery of
the Raga Kedar tune, using a variety of techniques such as Meend, Gamak, and Taan to create a
rich and nuanced musical environment. Pandit Dasgupta's use of Meend in the alap was
particularly impressive, as he effortlessly moved between notes to produce a melodic line that
was smooth and fluid. He also employed the Gamak with delicacy and subtlety, adding a rich and
complex dimension to the tune. Pandit Dasgupta's use of Taan in the alap was truly exceptional,
as he expertly produced a challenging and virtuosic series of notes.

Pandit Dasgupta's use of these techniques throughout the alap showcased his mastery of the Raga
Kedar melody. As he examined the various components of the melody, the complexity and
intensity of the tune gradually increased, resulting in a beautiful and intricate melodic setting that
served as the foundation for the remainder of the performance.

The highlight of the performance was the jugalbandi section, where Pandit Dasgupta and Ustad
Zakir Hussain engaged in a musical conversation, alternating between showcasing their
respective instruments and technical abilities. The exchange of rapid and subtle rhythms and
melodies between the sarod and tabla was particularly stunning. The sarod is a plucked stringed
instrument, while the tabla is a percussion instrument played with the fingers. The contrast
between the two instruments' tones and playing techniques made the interaction all the more
captivating. During the jugalbandi section, Pandit Dasgupta and Ustad Zakir Hussain exchanged
fast-paced, intricate rhythms and melodies to demonstrate their instrument mastery and ability to
listen to each other's performances and respond accordingly. The outcome was an exciting and
dynamic musical performance that highlighted the rich and extensive history of Indian classical
music.