Recorded at Darbar Festival 2015, on 20th September, at the Queen Elizabeth Hall, Southbank Centre, London.

Musicians:
- Pandit Shivkumar Sharma (santoor)
- Satyajit Talwalkar (tabla)

Dhun in Raag Pahadi, Thaat: Bilawal, Samay: Evening

The northern-most state of Jammu which is the native region of Pandit Shivkumar Sharma, has one of the richest folk cultures in India. Jammu is a colourful platter of music, art, crafts and agriculture that constitute the main livelihood of its people.

Raag Pahadi is based on the folk melodies of Jammu. Pandit Sharma plays a dhun in this raga, evoking the breath-taking landscapes of this region and its vibrant folk culture full of happy, soulful and mystique tunes and rhythm.

Pandit Sharma effortlessly pours out his soul into this rendition. Each time he performs Pahadi, the raga assumes new heights and artistic dimensions. Perhaps, it is the effortlessness with which Pandit Sharma relates to this raga and pours out his soul that makes it such a rewarding and enriching experience for listeners each time. His nuanced, delicate chimes are delightful, making it one of the most memorable performances of Pahadi by Pandit Sharma.

Ramkumar Mishra offers a pleasant accompaniment on the tabla. He keeps it mellow, blending exquisitely with the spirit of this sprightly melody.

Raag Pahadi is based on Bilawal thaat. Its jati is audav-sampurna, that is, it uses five notes in its ascent and seven notes in its descent. Ma and Ni are omitted in the ascent. The vadi swar or dominant note is Sa and samvadi or sub-dominant note is Pa. Pahadi can be expanded all octaves but it sounds more appealing when elaborated in the lower and middle octaves. Ga, although not vadi swar, is of great importance in Pahadi.

The arohana and avarohana of this raga are as follows:

S R2 G3 P D2 P D2 S’ N3 D2 P G3 M1 G3 R2 S N3 D2 P D2 S