Kafi (raga)

Kafi (IAST: Kāfi) is a raga in Hindustani classical music. It corresponds to Kharaharapriya in Carnatic music.

Kafi
ThaatKafi
VadiPa
SamavadiSa

Vishnu Narayan Bhatkhande classified most ragas into ten thaats. Kafi thaat is one of them. The raga Kafi is the principal raga of its thaat. According to Bhatkhande, its name first appears in the Raga Tarangini of Lochana Pandit, who lived in the Mithila district around the 15th Century CE.

Kafi has a direct lineage with the folk music of India. Folk music in Tappa, Hori, Dadra, Kirtan and Bhajans from different parts of India have been composed in this raga.

Many variations of Kafi exist. Contamination with vivadi swaras is common. This mixing has given rise to Mishra Kafi. Hence, a pure form of Kafi is seldom heard.

Description (Parichay)

Varna

Kafi is a sampoorna-sampoorna or heptatonic raga, with komal (half a note down) Gandhar (ga) and Nishad (ni).

Aroha

Sa Re ga Ma Pa Dha ni Sa

(ga and ni are komal swars)

Avarohana

Sa ni Dha Pa Ma ga Re Sa. (ga and ni komal)

Vadi and Samavadi

Pancham (Pa) is the vadi swara and Shadaj (Sa) is the samavadi swara.

Pakad

A typical improvisation of Kafi starts as M P D P M g R, g R S, n. D. S

The phrases below and termination in R are characteristic.

S R g M P D n

S, R g M P, M P D (M)g

Chalan

The typical chalan can be illustrated as:

S S R R g g M M P - - D M P g R R n D n P D M P S n D P M G R S.

M P D D n S - S R g R S N D S - S R S n D n D P M P D P g - R - R n D n P D M P S n D P M g R S

Organization and relationships

Various ragas, such as Bhimpalasi, Bageshree, Kafi Kanada, Bahar, and Brindabani Sarang are associated with this raga. Important tributaries of this raga include Sindhura, Barwa, Neelambari and Pilu.

In Western Classical Music, Kafi corresponds to the modern Dorian Mode.

Behavior

Samay (Time)

Raat ka dvitiya prahar or evening 9-12

Seasonality

The raga is performed during any season.

Rasa

The principal rasa for this raga is sringara.

Important recordings

Film Songs

Language:Tamil

Song Movie Composer Singer
Maharajan Karnan Viswanathan–Ramamoorthy T. M. Soundararajan, P. Susheela
Madhavi Pon Mayilaal Iru Malargal M. S. Viswanathan T. M. Soundararajan
Malligai En Mannan Dheerga Sumangali Vani Jayaram
Poo Malarinthida Tik Tik Tik Ilaiyaraaja K. J. Yesudas, Jency Anthony
Adukku Malli Yeduthu Aavarampoo S. P. Balasubrahmanyam, S. Janaki
Thaana Vantha Santhaname Ooru Vittu Ooru Vanthu
Vaazhavaikum Kaathalukku Jey Apoorva Sagodharargal
Mappillaikku Netrikkan Malaysia Vasudevan, P. Susheela
Aethamayya Aetham Ninaive Oru Sangeetham Malaysia Vasudevan, K.S. Chitra
Poongatru Thirumbuma Muthal Mariyathai Malaysia Vasudevan, S. Janaki
Anandham Pongida Pongida Sirai Paravai K. J. Yesudas,Sunanda
Thooliyile Ada Vantha Chinna Thambi Mano, K.S. Chitra
Elangaathu Veesudhey Pithamagan Sriram Parthasarathy, Shreya Ghoshal
Aanenna Pennena Dharma Durai S. P. Balasubrahmanyam
Sangeetha Swarangal Azhagan Maragathamani
Indralogathu Sundari Uyirullavarai Usha T. Rajendar
Janaki Devi Samsaram Adhu Minsaram Shankar Ganesh K.S. Chitra
Pachchai Nirame (Sakiye) Alaipayuthey A. R. Rahman Hariharan, Clinton Cerejo
Kilimanjaro Enthiran Javed Ali, Chinmayi
Gulmohar Malare Majunu Harris Jayaraj Hariharan
Mudhal Mazhai Bheemaa Hariharan, Mahathi, R. Prasanna
Santhikkadha Kangalil Inbangal 180 Sharreth Unni Menon, K.S. Chitra, S. Sowmya
Inni Naanum Naanilai Yai! Nee Romba Azhaga Irukke! Srinivas Srinivas, Sujatha Mohan, Sunitha Sarathy
Yamini Yamini Arvind-Shankar Harish Raghavendra

References

    • Hindustani Sangeet Paddhati and his concise commentary, A Comparative Study of Some of the Leading Music Systems of the 15th, 16, 17th, & 18th Centuries by Vishnu Narayan Bhatkhande.
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