|
|
Peace, power, pathos, poignancy: these words together constitute an
apposite expression of the aesthetics of the raga Pahadi. The raga is like
a lover, unruffled in union, serene in separation, powerful enough to
achieve eternal union, but resigned to the painful parting ordained by
destiny.
Pahadi, a Kashimiri folk melody in its origin, is a simple raga -- one may
think of it as a 'dhoon'. On the other hand, however, proper and dignified
treatment elevates it to the rightful, lofty and esteemed stature of an
exquisite raga -- beautiful, intense, elegant and delicate. Its aesthetic
atmosphere is radically distinctive and without equal. It is not a major
raga in the sense of Darbari, Yaman, Bihag etc.
Raga Pahadi is said to belong to Bilawal thaat. Superficially, Pahadi has
the same notes as do Bhopali and Deshkar and Shuddha kalyan (Mohana
Kalyani). Raga Pahadi is sung with Ma as Sa, (like Piloo). Having done
that, it is sung chiefly in the lower and middle octaves, With Ma as its
Sa, Dha now becomes Ga, which can be treated as the vadi. Stressing the
lower Dha makes this raga beautiful. This raga is very popular in
rendering thumris, ghazals and bhajans. It is sung at all times. Its Aroha
and Avaroha are as follows:
Aroha: S R G P D S'
Avaroha: S' D P G R S.
This is, of course, oversimplification, because any of the twelve notes of
the octave can be skillfully included to enhance Pahadi's ethereal appeal.
Typical phrases in Pahadi:
[The notation with Ma as the Sa]
S, 'D 'P, 'G 'P 'D S.
S, 'D 'D 'P, 'D S R G, G R G S.
A visit to the raga database on this site will show how popular this raga
is, with one of the largest number of movie songs using its notes as well
as atmosphere.
I often come across Country music songs which exude distinctly of the
Pahadi pathos.
|
Online Store
