RAAG KAFFI

History of Raag Kaffi

Raag Kaffi and Raag Kaffi vocals have the birthplace from its own Thaat name “Kaffi Thaat“. In the folk music of INDIA, Kaffi Ragg has its straight root. The kinds of folk music composed in the Kaffi Raag, hails from different parts of India and they are Tappa, Hori, Dadra, Kirtan and Bhajans. To most of the Ragas Vishnu Narayan Bhatkhande classified into 10 Thaats. From which Kaffi Thaat is the most popular one.

A most important Raag is Thaat Raag Kaffi. As the ambience created by Raag Kaffi is most suitable for both union and separation, the composition of Hori and Thumri are sung in this beautiful Raag. Raag Bhairavi, Raag Shankar , Raag Desh are the three different scales, combinations of which forms the Kaffi Raag.

Highlights of Raag Kaffi Vocals

Ustad Bismillah Khan an Indian musician played the Raag Kaffi on his Shehnai (a reeded woodwind instrument) on 15th August 1947 from the Red fort on the on the occasion of India’s Independence day.

Being one of the oldest Raag, Raag Kaffi in Natyashastra its intervals are represented as the primary scale. Due to its connection with Goddess Durga, Raag Kaffi has its unique importance in Hindustani classical Music. It is also used to perform during Navratri Festival to seek the blessings of Goddess Durga. This Raag in Western classical music is equivalent to the modern Dorian mode. In Semi classical songs like Thumri and Hori the commonly used Raag is Kaffi Raag. Apart from this, Raag Kaffi is used as a soundtrack for workouts for its dynamics and lifting melodies.

Musical Characteristics of Raag Kaffi Vocals

The dominant swara (Vadi) of this Raag is (Ga) and the codominant (Sambadi) swara is (Sa).The perfect time to sing this Raag is between 10pm to 1 am (late evening Raag), which convey the mood of springtime. In the Raag Kaffi vocals, both Aroha and Abroha all the 7 Swaras are there, so it is called as Jati Sampurna Sampurna. Being derived from Kaffi Thaat, this Raag also has Ga and Ni Komal both in Aroha and Abroha. But sometimes this permits the use of Vivadi Swaras like Sudha Ga and Sudha Ni. Re and Pa are the resting notes in Kaffi Raag. Kaffi Raag is also called as a Aashrya Raag as it is created from its own Thaat. Being a Chanchal Prakriti Raag Kaffi Raga is associated with themes of devotion, colorfulness, and spiritual contemplation. Sindhura Raag is a similar kind of Raag like Kaffi.

THAT –Kaffi (Thaat is classification of Ragas)

Wadi –Ga

Sambadi -Sa

Time–Night (2nd prahar of the evening (10pm-1am)

Nature –Chanchal

Jati -Sampurna sampurna

Pakar-SaSa ReRe GaGa MaMa Pa

Nyas-Sa Re Pa

Taal-tritaal (starts from 4th bit)

Aaroh– Sa Re Ga Ma Pa Da Ni Ṡa

Abroha –Ṡa Ni Da Pa Ma Ga Re Sa

ALAP– SaSa ReRe GaGa MaMaGa PaMaGaReSa SaNiSa Re
GaRe GaMaPa

Bandish-1(Based on Ek Taal -Dhrut Ek Taal)

Stahi

Kadara piya naiya mori kaise lagi para
Kadara piya naiya mori kaise lagi para
Tu Khewata anadihu thadi majhe dhaar (2)

Antra

Na Mori naaya na rekhi baaya
Na Mori naaya na rekhi baaya
Aana padi mana dhara(2)

Stahi Notation

Ka   |  da ra pi ya  |   nai ya    |  mo ri  |   kai se    |   la gi   |     pa – – ra
G     |  G   G M P    |   MGPM   |    G R   |    RGSR  |    M M   |      P  – -M

Tu  |  Khe wa ta a |   na di hu  |  tha di maj he   |     dh a  –  ra
P    D   N  S     |      N  D  P    |    D    P   M   P       |        G G  R G

Antra Notation

Na – Mori | naaya – |  na rekhi    | ba a ya  |
N D M P   | N – S S  | NS RG RS |  NN S S  |

Aana pa | di mana  |  dh-a ra
N N D P  |   M – D P | G G R G |

TAAN

Kadara piya naiya mori
MaGa  ReSa  NiDa  PaMa  GaRe  SaNi  Sa

Kadara piya naiya mori
SaRe GaRe  SaRe GaMa  GaMa DaDa NiSa

Kadara piya naiya mori
GaGa ReGa ReSa NiSa NiNi DaNi DaPa MaPa

Kadara piya naiya mori
SaSa NiSa NiDa PaDa GaGa MaPa Ma-

Kadara piya naiya mori
GaGa ReRe ReRe SaNi SaNi SaNi DaPa MaPa

Kadara piya naiya mori
MaPa MaPa DaNi Sa NiDa PaMa GaRe

TEHAI

Kadara piya naiya mo(3 times)
ri kaise lagi para

Bandish-2 (Based on Teen Taal)

Stahi

Aaj Khele Shyam rang Hori re
Pichkari rang bhari keshar ki

Antra

Aaj kuwnar kanheya sang sakhi Radha
Rang bhari jori sohat ri

Stahi Notation

Aaj |  Khe- le –   |  Shy am rang | Ho -ri- | re – | .
RM |  PDN DP –  | MG  R  M  M    | P-P-     | MGR |

Pi ch |  ka – ri – |  ra ng bh ari | ke – sh ar | ki –      |
D D   | D – N D  |  P    D M    P  | DN S N P | M G R |

Antra Notation

Aa j |  ku wna  r ka |  n – hey a | sa ng sa khi  | Ra – dha – |
M M |   P    P    D D |  Ṡ D  Ṡ   – |   R  G    R  S   | N  D  Ṡ – |

Ra ng bha ri |   jo – ri –   | so – ha t   |  ri  –     |
S    S   S    R |   N – D P  | PD N D P | MG R   |

16 Matra Allaap

Aaj Khele Shyam rang Hori
Sa – – – | Re – – – | Ga – – – |  Re – Sa-

Khele Shyam rang Hori
Sa – – – | Re Pa – – | Ga _ Ma_ |  Ga – Re – |
Sa Sa Re Re | Ga Ga Ma Ma | Pa – – – | Ga – Re – |

TAAN

Aaj Khele Shyam rang
Sa Re Ga Ma Pa Da Ni Sa | Sa Ni Da Pa Ma Ga Re Sa

Khele Shyam rang
– SaRe Ga Ga Re Ga Ma MaPa MaGa MaGa ReS
-GaMa PaMa Ga Ma PaMa Ga Ma Pa MA Ga Re Sa
-SaRe ReGa GaMa MaPa | PaMa GaMa GaRe Sa

TEHAI

Khele Shyam rang (3 times)
Hori re

Composition to practice in Raag Kaffi

-Hamari sasoon mein (Film:Mere Huzoor)

-Pyar bhare do sharmeele (Film:Chaahat)

-Bairan neend na aaye (Film:Chacha Zindabad)

-Ye raat ye chandni (Film:Jaal)

-Holi khelat nandlal (Film:Godan)

-Gairon pe karam apno pe shitam (Film:Ankhen)

-Aplam chaplam chaplayi re Duniya ko chhod teri gali (Film:Azaad)

-Thhaade rahiyo o baanke yaar re (Film:Pakheezah)

-Ek ladki ko dekha to aisa laga (Film:1942 A Love Story)

-Kali ghodi dwar khadi khadi re (Film:Chashme Buddoor)

-Matt maro shyam pichkari (Film:Durgesh Nadini)

Naina kaheko lagaye (Film:Joru Ka Bhai)

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