S-R-G-P-D-S
Said to derive from Bengali or Kashmiri folk tunes, Pahadi (meaning ‘mountain’ or ‘of the hills’) combines the playful with the pensive. While its Bhupali-congruent core form offers a certain sparse simplicity, the raga’s true magic is found in its extensive mishra capabilities – with the tasteful use of virtually any swara being permitted, particularly in long avroh lines which often borrow liberally from nearby forms. Popular in filmi and fusion.
• Raga Megalist (365+) •
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• Hindustani Raga Index •
Aroha: SRG, PDS
Avroh: SDP, GRS
Chalan: variable – mishra path e.g. SD; DNPD; GPDS; DSRG; RGmG; RSND; PmG; PDSR; GmGgG; GPDS; DPGgGS (Ramrang)
—Shivkumar Sharma (2019)—
[mishra dhun, e.g. 3:25] SRGP, P, P(DPMGRSRG), S(RGMP) D(PMPGRG) G(MPMDPMG)G; (D)GD, D, D(NDPMG) P, P(MG)RS(D), SRG, GRS, DNS(RGMPMGR), G G, GRS, DgRS, S…
• Classifiers •
Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):
Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+
Sapta: Audav | Shadav | Sampurna
Poorvang: SRGM | SRG | SRM | SGM
Uttarang: PDNS | PDS | PNS | DNS
Varjit: Re | Ga | Ma | Pa | Dha | Ni
Double: rR | gG | mM | dD | nN
Thaat: 10 | 32 | Enclosed | Inexact
Chal: All-shuddha | All-komal | Ma-tivra
Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row
Symmetries: Mirror | Rotation | Palindr.
Aroha: Audav | Shadav | Sampurna
Avroh: Audav | Shadav | Sampurna
Jati: Equal | Balanced | Av.+1 | Av.+2
Samay: Morning | Aftern. | Eve. | Night
Murchana: Bhup. | Bihag | Bilaw. | Charu.
Raganga: Bhairav | Malhar | Kan. | Todi
Construction: Jod | Mishra | Oddball
Origin: Ancient | Carnatic | Modern
Dominance: Poorvang | Uttarang
Prevalence: A-list | Prachalit | Aprach.
• Prakriti: Bhupali, Deshkar, Jait Kalyan
–Swara Geometries–
• Core form: S–R–G–P–D–S
• Reverse: SgmdnS (=Malkauns)
• Negative: 2-2-2-1-2-2-1 (e.g. Yaman)
• Imperfect: 1 (Ga)
• Detached: none
• Symmetries: mirror (R—d)
• Murchanas: Bhupali set
• Quirks: ‘atritonal‘ (no available tritones) • ‘maximal‘ (swaras are optimally ‘spread out’)
–Global Translations–
• Carnatic: ~Mohanam
S-R2-G3-P-D2-S
• Jazz: Major Pentatonic
1-2-3-5-6-8
• Pitch classes (‘fret-jumps’):
0-2-4-7-9-0
(2–2–3–2–3)
o • o • o • • o • o • • o
• Tanpura: Sa–Pa (+Ga)
• Names: Pahadi, Pahari
—Debasmita Bhattacharya (2015)—
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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!
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