Kafi

This rag is mainly performed in dhrupad tradition as well as in semi-classical genres like thumri, dadra and tappa, but rarely in khayal. The recording presented here is however a bada khayal. The term Kafi also refers to a genre of music in Sufi tradition.

Tone material: S R g m P D n

The melodic movements are direct and simple. Ga and Ni are the main notes while Re and Pa are the resting notes. Ga can be oscillated (andol). When performed in lighter genres notes such as natural Ga can also be included.

Some characteristic phrases:

R g R – m m P
g- m P m P
D m nP g R
S n \P g R

Rag Sindhura kafi including both natural and flat Ni, is a variety of Kafi. Rag Zila kafi is another variety of Kafi used in thumri style and is characterised by the use of both Ga, one after the other in succession in the descent. The variety of Kafi with flat Dha is known as Sindh kafi.

Time: late night (Bhatkhande [KPM I] 1979: 45)
However, since there are a number of  hori-dhamar compositions in this rag, it can be sung any time in the month of Phagun (around March), which is the season for the festival of Holi (Thakur [Sangitanjali I-1] 1971: 101).

Further listening:
Krishnarao Pandit ECSD 2736 (tappa)
Parrikar on Kafi
Recording by Ronu Majumdar
Recording by Malini Rajurkar (tappa)

Performance by Ajoy Chakrabarty

Composition: bada khayal

जागो मन धारो
जिनके शरनन में

मत सोये रहो
बिसरो ना उनकी किरपा
काम तब होवे जब रहो प्रभू चरन में

Please wake up from the slumber and surrender to the Lord. You cannot remain asleep. You will succeed when you surrender at his feet and seek his grace and blessings.

Tal: Ektal (slow tempo)

Performance:
4-8: Performance opens with a sustained Re which is an important resting point in this rag
31-32: Melody moves to Pa in the lower octave, another important note, from where it rises again to Re via a glide P n /g R
41-47: g- m P m P -, one of the characteristic movements in this rag
48-54: Phrase descending on Re. Note another characteristic movement – D m nP g R and a touch of Ni for Pa. Note also the oscillations (andol) on Ga
60-63: Again the glide P n /g R
83-132: First line of the composition. Note a typical movement leading to the accentuated beat (sam) -R g mP m P-, with a stress on Pa
133-172: The same line is repeated with small variations. Note the sustained Pa ending g R m P- (138-140)
179-245: Elaborations using the words of the composition (bol alap)
246: Second part part of the composition (antara)
294-346: Second line presented and repeated with some variations. Note oscillations (andol) on high Ga (342-343)
347: Concluding line