Raag Kafiकाफ़ी
Sourced · not yet reviewed by a musician
Kafi thaat · Sampurna-Sampurna · Midnight
- Night
- Midnight
- Late night
Swaras and phrases
Outlined: vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Pa · samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary Sa
Tap a lit note to hear it · Synthesized for study — not a recording
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa Re ga Ma Pa Dha ni Sa'
Source: NIOS +5
- NIOS, printed p.13, Raga Parichay, Aroha
- Artium Academy, Raag Kafi page, aroha
- Krsna Kirtana Songs, Raga facts, Aroha
- Rāga Junglism / George Howlett, Melodic summary, Aroha
- Raag Hindustani / Sādhana, Linked scale image under corresponding raag heading; left ascent / right descent
- Swaranjali Music School, PDF page 14, labelled aroha; raw custom-font extraction decoded against page image
- All 6 sources agree
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' ni Dha Pa Ma ga Re Sa
Source: NIOS +5
- NIOS, printed p.13, Raga Parichay, Avaroha
- Artium Academy, Raag Kafi page, avaroha
- Krsna Kirtana Songs, Raga facts, Avaroha
- Rāga Junglism / George Howlett, Melodic summary, Avroh
- Raag Hindustani / Sādhana, Linked scale image under corresponding raag heading; left ascent / right descent
- Swaranjali Music School, PDF page 14, labelled avaroha; raw custom-font extraction decoded against page image
- All 6 sources agree
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- Re ga Re Ma Ma Pa; ga - Ma Pa Ma Pa; Dha Ma ni Pa ga Re; Sa ni \ Pa ga Re
Source: AUTRIM
- AUTRIM, Kafi page, characteristic phrases
- 5 versions in 5 sources
About Kafi
Kafi is heard in dhrupadDhrupadA Hindustani vocal form built around composed text, raag and taal, traditionally with pakhawaj accompaniment.Source: N4 §§4.1–4.3, pp. 28–30. and 1 moreMore in the glossary and in thumri, dadra and tappa, and less often in khayal. Its movements are fairly direct. KomalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga and komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni are main notes, and Re and Pa are resting notes.
Also called Kaafi.
Source: SPMVV
- SPMVV, §5.4, Kaafi Thaat, janya ragas; printed p.42
Learner focus
Treat komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga and komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ni as main notes and Re and Pa as resting points. KomalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga may be oscillated.
Source: AUTRIM
- AUTRIM, Kafi page, opening description
Caution
Lighter performances may add shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga. Keep that apart from Kafi's core notes.
Source: AUTRIM
- AUTRIM, Kafi page, opening description
Study prompts
Short exercises that restate what the cited sources say.
- Sing the ascent Sa Re ga Ma Pa Dha ni Sa' slowly and name each komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary note.
- Sing Re ga Re Ma Ma Pa and pause on Pa.
- Lighter performances may add shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga. Listen for it in a thumri recording and keep it apart from the core notes.
Based on: NIOS +7
- NIOS, printed p.13, Raga Parichay, Aroha
- Artium Academy, Raag Kafi page, aroha
- Krsna Kirtana Songs, Raga facts, Aroha
- Rāga Junglism / George Howlett, Melodic summary, Aroha
- Raag Hindustani / Sādhana, Linked scale image under corresponding raag heading; left ascent / right descent
- Swaranjali Music School, PDF page 14, labelled aroha; raw custom-font extraction decoded against page image
- AUTRIM, Kafi page, characteristic phrases
- AUTRIM, Kafi page, opening description
Variants
- Lighter genres may include shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ga.
Source: AUTRIM
- AUTRIM, Kafi page, opening description
- Sindhura Kafi has both Ni forms; Zila Kafi uses both Ga forms in succession in descent; Sindh Kafi has komalKomalThe lowered form of Re, Ga, Dha or Ni relative to its shuddha form. It describes a swara form, not a soft playing instruction.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Dha.
Source: AUTRIM
- AUTRIM, Kafi page, description
- Hori-dhamarDhamarA vocal form associated with Holi themes and the fourteen-matra Dhamar taal, traditionally accompanied by pakhawaj.Source: N4 §§4.1–4.3, pp. 28–30. and 1 moreMore in the glossary repertoire allows performance at any time during Phagun.
Source: AUTRIM
- AUTRIM, Kafi page, description
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 5 sources agree
- JatiAll 5 sources agree
- Time4 of 7 sources agree
- ArohaAll 6 sources agree
- AvarohaAll 6 sources agree
- Pakad5 versions in 5 sources
- VadiAll 4 sources agree
- Samvadi4 of 4 sources agree
Sources differ
Notes where the cited sources describe the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary differently. Field-by-field versions and their sources are under How the sources vote.
- NIOS names Pa and Sa as vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary and samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary and gives midnight. AUTRIM calls Ga and Ni the main notes and Re and Pa resting notes, without naming a vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary or samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, and gives late night. RagaPedia shows the vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary and samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary that NIOS names.
Film songs
Film songs where a checked source names Kafi. Each song shows whether a musician has reviewed it yet.
Archive recordings
No archive recordings are linked to this profile yet. Browse all archive recordings.
Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
Kafi during Holi
AUTRIM connects Kafi with the Holi season through its hori-dhamarDhamarA vocal form associated with Holi themes and the fourteen-matra Dhamar taal, traditionally accompanied by pakhawaj.Source: N4 §§4.1–4.3, pp. 28–30. and 1 moreMore in the glossary compositions. Citing Thakur, it says the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary can be sung at any hour during Phagun, around March.
Documented · Source: Time and Holi-season exception
Misra Kafi in Berkeley
Raga Records places Nikhil Banerjee's Misra Kafi in the second half of a Berkeley concert recorded on 23 October 1982. Its notes explain that this mixed form allows brief appearances of other raagsRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary.
Documented · Source: Raga-204 booklet: Misra Kafi paragraph and final recording credits
Sources for this profile
ThaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary, time, vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, arohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary, avarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary and pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary show the version the most independent publishers print; the sources page lists every version and who prints it. Other facts follow the source cited beside them. No musician has reviewed this profile yet.
- Kafi: raag profileMusic in Motion: AUTRIM (NCPA and University of Amsterdam) · cited as AUTRIMRaag profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
- MAMUD4.1 Research and Contemporary Music, Musicologists, §5.4 THAAT SYSTEMSri Padmavati Mahila Visvavidyalayam · cited as SPMVVUniversity course material listing raags under each thaat (printed pp.41–42). All rights reserved: cited by locator and paraphrased, never reproduced. Accessed 7 October 2026.
- Hindustani Music (242), Practical Book 2, Chapter 1: Chota KhayalNational Institute of Open Schooling · cited as NIOSGovernment open-schooling course book with raag profiles (Raga Parichay). Accessed 7 October 2026. Located by printed page; paraphrased.
- Raag KafiArtium Academy · cited as Artium AcademyA private music academy's raag page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
- Raga KafiKrsna Kirtana Songs · cited as Krsna Kirtana SongsPublic educational page. robots.txt provides a sitemap and no disallow rules; no terms/automation restriction linked from the inspected home and raga pages. Copyright is not assumed open: cite factual fields and paraphrase; full fetched text is local audit evidence only. Asterisks are the source's ati-komal/andolan qualifier, retained in rawValue; normalized pitch remains komal. Accessed 17 October 2026.
- Kafi | SRgmPDnS | Hindustani Raga Index | 365+ RagasRāga Junglism / George Howlett · cited as Rāga Junglism / George HowlettOpen-access musician-authored Raga Index. robots.txt disallows filter-result paths, not this raga page; no separate restrictive terms link found on the inspected page/about page. No open reuse licence assumed. Cite factual melodic summaries; paraphrase prose. Quoted AUTRIM/Tanarang/Parrikar passages and attributed chalan are not new independent votes. Accessed 17 October 2026.
- Praveshika Pratham: Syllabus and Theory / Raag IntroductionsSwaranjali Music School · cited as Swaranjali Music SchoolOpen school syllabus; robots.txt returned 404 and no restrictive terms link was found on the inspected school homepage. Copyright belongs to the school/Anjali Nandedkar: factual fields are cited; prose is paraphrased; original PDF and rendered pages are local audit evidence only. Music uses a custom Latin font: ladder rawValue retains the extracted glyph codes, while normalized values were checked against rendered pages. Superscript grace notes are parenthesized in value; the source’s dot and vertical-bar octave symbols are read using its own notation guide (Praveshika PDF pp.10–11). Accessed 17 October 2026.
- Different Kinds of Ragas by Structure - Raag HindustaniRaag Hindustani / Sādhana · cited as Raag Hindustani / SādhanaPublic teaching chapter; robots.txt returned 404 (no directives). Terms reviewed at /TermsofUse.html, with no automation ban found. Copyright retained: cite the factual field, paraphrase prose; text and linked notation image are local audit evidence only. Staff images were visually checked. No vadi, samvadi or pakad is inferred from the teaching examples. Accessed 17 October 2026.
- Music and Dance Knowledge / Information: Hindustani raag profilesDivya Music · cited as Divya MusicMusic school's raag notes. No open licence: cited and paraphrased only. Accessed 7 October 2026.
- Vocal Music syllabus: Prarambhik to BhushanPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.