Raag Pahadi By Bade Gulam Ali Khan

Raag Pahadi By Bade Gulam Ali Khan
#indianraag #raag #song #classicalmusic #love #musica #lovesong #singer #music #meghraag ‪@RCP-p9g‬Raag Pahadi By Ustad Rashid Khan #indianraag #raag #song #classicalmusic #love #musica #lovesong #singer #music #meghraag #indianraag #raag #song #love #musica #classicalmusic #lovesong #singer #music #meghraag @RCP-p9g #indianraag #musica #raag #love #song #music #lovesong #classicalmusic #singer #meghraag @RCP-p9g Raag Pahadi By Bade Gulam Ali Khan
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Raag Pahadi is a popular raga based on folk music. As its name suggests, it originates from the mountainous region of Himalayas. It resembles two other ragas which exude the rich cultural heritage of folk music: Mand from the Rajasthan region and Pilu from the Hindi heartland. Pahadi is not so much a raga as much as a folk tune. In India, knowledge of Pahadi is not acquired formally; one grows up with it. Same with ragas such as Bhairavi. The gestalt of these melodies is best imbibed by listening to the auxillary forms. There are so many film songs in Pahadi that one doesn't know where to begin (some samples are on tap at Sawf in "Short Takes: Bhoopali and Deshkar"). The basic contour of Pahadi is formed with S R G P D but the secret to its magic lies in the phraseology, the manner in which other swaras are integrated, notably the shuddha madhyam (M) and the shuddha nishad. It is customary to sing Pahadi madhyam-se (by regarding M as the S), so that most of the action takes place in the mandra and madhya saptaka. The following tonal sentence captures the essense of Pahadi (' denotes swaras of the mandra saptaka): S, S R D' S D' P', D' G' P' D' S... R G M G, S D' P' M' G', G' P' D' S... The shuddha nishad often imparts a tinge of Mand: S, D' N' P' D' S, G P DNPD S" D P G M G Other swaras - komal gandhar, komal rishab, teevra madhyam - are judiciously employed: P' D' S R G M GgG, G P D S", D P m P M G, RrR, S Likewise, komal dhaivat and komal nishad have their own cameos. The pancham and gandhar are strong. The trick is to know how to use, when to use, and in what proportion to use these other swaras, and this cannot be adequately conveyed through written notation.