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Kafi comes in several flavours – Sindh Kafi (a touch of komal dhaivat), Zilla Kafi (seasoned with shuddha gandhar), De-Kafi (with sugar and cream) and Bengali Kafi (who cares?). These preliminaries are appositely summarized by Ramashreya Jha “Ramrang “ in a conversation recorded over the California-Allahabad telephone link. Bear in mind that strict conformity to etiquette is not expected of kshudra ragas. With this understanding, the explicit Mishra qualifier shall be dispensed with altogether. A ‘pure’ version of Kafi is seldom heard in performance almost all instances fall to the “Mishra Kafi” lot.
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In all kshudra ragas, ‘contamination’ on account of swaras not part of their intrinsic makeup is par for the course. Kafi is accorded a great deal of latitude in the interest of ranjakatva. These ploys betray an influence of Sindhura (to be treated shortly). An uttaranga foray bearing shuddha nishad of the form M P N S” is also observed. For instance:Ī couple of final observations: it is not uncommon for gandhar to be skipped ( langhan) in arohi prayogas – S R M P D M P g R. M P D n S”, D n D P D n S”, R” n S” n D PĪs is shuddha gandhar, in a vivadi role. Pancham and avarohi rishab are nyasa swaras. M P D n D P, n P (M)g R, g R S n’ D’ n’ S S R R g g M M P, P M P (M)g R, n D n P D M P (M)g R This recurring phrase and the avarohi termination on R are characteristic of Kafi. Raga Kafi’s signature is ensconced in the following tonal phrase: By the time a student embarks on a systematic study, these musical memes are expected to be part of his or her mental furniture. One grows up with them, their spirit seeping into the dermis through osmosis.
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To those growing up in India with all its ambient cultural input, ragas such as Kafi, Bhairavi, Pahadi and Piloo scarcely require formal instruction. Large swaths of the Hindustani ragaspace remain beholden to this that for it is the mother lode of not only major ragas but also of several key ragangas (Kanada, Malhar, Bhimpalasi, Dhanashree, Bageshree and so on).Īs mentioned in the prefatory remarks, Raga Kafi has come to us from folk music. It corresponds to the 22nd Carnatic melakarta Kharaharapriya, known in early Carnatic literature as Shree-raga mela, and wields the following swara-set: S R g M P D n. The Kafi that is among the ten proposed by Pandit Vishnu Narayan Bhatkhande in his taxonomic scheme. Throughout this essay M represents the shuddha madhyam. That is to say, their conveyance is largely via auxiliary genres such as hori, dadra, thumri, bhajan and geet instead of the weighty classical forms like dhrupad and khayal. Although these tunes over time have come to be formalized into ragas, they remain consigned to the bucket of kshudra ragas. Besides sharing genetic material these ragas have another common attribute: they have arisen from dhuns, with their fons et origo in the province of folk music. In this paper we train our sights on Raga Kafi and its tributaries, namely, Sindhura, Barwa, Neelambari and Piloo. The distinguished ragas, Bhimpalasi and Bageshree, associated with the Kafi that have been the subjects of an earlier inquiry. Parrikar with Kishore Kumar in Goa (1986) This site does not host pdf, DOC files all document are the property of their respective owners.Rajan P.
#Hindustani sangeet paddhati pdf pdf#
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