Raag Pahadiपहाड़ी
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Bilawal thaat · Audav core; variable mishra treatment · Early night
- Sunset
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Swaras and phrases
Outlined: vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Sa · samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Pa
Tap a lit note to hear it · Synthesized for study — not a recording
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa Re Ga Pa Dha Sa'
Source: SwarGanga +2
- SwarGanga, Pahadi page, Basic Structure, Aaroha
- KalaSudha, Quick Facts / Technical Details, Aroha (Ascent)
- Krsna Kirtana Songs, Raga facts, Aroha
- 3 of 3 sources agree
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' Ni Dha (Ma♯) Pa Ma Ga Re Sa (.ni) .Dha .Pa .Dha Sa
Source: SwarGanga
- SwarGanga, Pahadi page, Basic Structure, Avroha
- 3 versions in 3 sources
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- Ga Pa Dha Sa; Dha Pa Ga ga Ga Sa
Source: Raga Junglism
- Raga Junglism, Pahadi page, Pakad
- 4 versions in 4 sources
About Pahadi
Pahadi has a five-note core of Sa, Re, Ga, Pa and Dha, with wide freedom to add other notes, especially in descending lines. Its playful ornaments and lower- and middle-register movement matter more than the core scale.
Source: Raga Junglism
- Raga Junglism, Pahadi page, opening description
Curriculum: Pracheen Kala Kendra's vocal syllabus prescribes it at Visharad Final, one song only.
Source: PKK
- PKK, printed p.16, list of prescribed raags
How it moves
Raga Junglism gives the core frame as Sa Re Ga Pa Dha Sa'.
Source: Raga Junglism
- Raga Junglism, Pahadi page, Aroha
Raga Junglism gives the core frame as Sa' Dha Pa Ga Re Sa.
Source: Raga Junglism
- Raga Junglism, Pahadi page, Avaroha
Learner focus
Hear Sa, Re, Ga, Pa and Dha as stopping notes, and tell the five-note core apart from mixed descending lines.
Source: Raga Junglism
- Raga Junglism, Pahadi page, notes
Caution
In mixed treatment any swaraSwaraA musical note in Indian music. The seven names are Sa, Re, Ga, Ma, Pa, Dha and Ni; some have shuddha, komal or tivra forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary may appear. The five core notes are not a complete list of what is allowed.
Source: Raga Junglism
- Raga Junglism, Pahadi page, opening description
Study prompts
Short exercises that restate what the cited sources say.
- Sing the core frame Sa Re Ga Pa Dha Sa' and back down.
- In a Pahadi song, note which phrases stop on the five core notes.
- Mark any notes outside the core in a descending line. The source allows them in mixed treatment.
Based on: SwarGanga +5
- SwarGanga, Pahadi page, Basic Structure, Aaroha
- KalaSudha, Quick Facts / Technical Details, Aroha (Ascent)
- Krsna Kirtana Songs, Raga facts, Aroha
- SwarGanga, Pahadi page, Basic Structure, Avroha
- Raga Junglism, Pahadi page, notes
- Raga Junglism, Pahadi page, opening description
Variants
- Any swaraSwaraA musical note in Indian music. The seven names are Sa, Re, Ga, Ma, Pa, Dha and Ni; some have shuddha, komal or tivra forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary may appear tastefully in mishra treatment, particularly long descending lines; the core five swarasSwaraA musical note in Indian music. The seven names are Sa, Re, Ga, Ma, Pa, Dha and Ni; some have shuddha, komal or tivra forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary are favored stopping tones.
Source: Raga Junglism
- Raga Junglism, Pahadi page, opening description
- Raga Junglism compares these raagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary by their notes only, not by their phrases.
Source: Raga Junglism
- Raga Junglism, Pahadi page, proximate forms
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 3 sources agree
- JatiSources split 2–2
- Time2 of 4 sources agree
- Aroha3 of 3 sources agree
- Avaroha3 versions in 3 sources
- Pakad4 versions in 4 sources
- Vadi3 versions in 3 sources
- Samvadi3 versions in 3 sources
Similar raags named by the sources
- Bhupali: The core notes are the same; that does not mean the phrases are shared.
Source: Raga Junglism
- Raga Junglism, Pahadi page, opening description
- Deshkar: Listed as having the same core notes; that does not mean the phrases are shared.
Source: Raga Junglism
- Raga Junglism, Pahadi page, related raags
Not stated in our sources yet
The sources we cite do not state: other names. RagaPedia leaves these blank rather than guess.
Film songs
Film songs where a checked source names Pahadi. Each song shows whether a musician has reviewed it yet.
Archive recordings
No archive recordings are linked to this profile yet. Browse all archive recordings.
Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
Pahadi within a dance sequence
In his 2024 thesis, Punit Jaipal Shah identifies Pahadi in the instrumental thumri portion of the Vishvamitra-Menaka Nritya sequence in Jhanak Jhanak Payal Baje. His analysis places it alongside Patdeep, Jhinjhoti and Bhimpalasi across the sequence.
As told by Punit Jaipal Shah, doctoral thesis dated December 2024; local extraction A04 · Source: Chapter 1, section 1.7, printed pp.74-76 (PDF pp.75-77), figures 1.17-1.19; figure 8.1 row 1.6, printed p.267 (PDF p.268); local A04.json, Pahadi pair for Vishvamitra-Menaka Nritya
Sources for this profile
ThaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary, time, vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, arohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary, avarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary and pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary show the version the most independent publishers print; the sources page lists every version and who prints it. Other facts follow the source cited beside them. No musician has reviewed this profile yet.
- PahadiSwarGanga Music Foundation · cited as SwarGangaMusic foundation's raag profile. No open licence: cited and paraphrased only. Accessed 7 October 2026.
- PahadiRaga Junglism (George Howlett) · cited as Raga JunglismA practitioner's raag guide, used because the institutional sources we checked have no Pahadi profile. Accessed 7 October 2026. Located by line; paraphrased.
- PahadiKrsna Kirtana Songs · cited as Krsna Kirtana SongsPublic educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and raga pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komal/andolan qualifier, retained in rawValue; normalized pitch remains komal. Accessed 17 October 2026.
- Raag Pahadi: Thaat, Time & Notes | KalaSudhaKalaSudha · cited as KalaSudhaPublic raga page. robots.txt allows this public path and excludes authenticated application paths; terms reviewed at /en-in/terms-conditions. All rights reserved: factual fields are cited, prose is paraphrased, fetched text retained for local audit only. No verbatim copying of the recorded core-field context was found in the compared already-used sources or KKSongs; attribution uncertainty is not a claim of original scholarship. Accessed 17 October 2026.
- Hindustani Music (242), Theory Book 1, Chapter 2: Elements of RagaNational Institute of Open Schooling · cited as NIOSDefines the jati terms used to label note counts. Accessed 7 October 2026. Located by printed page; paraphrased.
- Different Kinds of Ragas by Structure - Raag HindustaniRaag Hindustani / Sādhana · cited as Raag Hindustani / SādhanaPublic teaching chapter; robots.txt returned 404 (no directives). Terms reviewed at /TermsofUse.html, with no automation ban found. Copyright retained: cite the factual field, paraphrase prose; text and linked notation image are local audit evidence only. Staff images were visually checked. No vadi, samvadi or pakad is inferred from the teaching examples. Accessed 17 October 2026.
- Vocal Music syllabus: VisharadPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.