- The
samavadi or
samvadi is the second-most
prominent (though not
necessarily second-most pla****) note of a raga in
Indian classical music. The primary...
- Dha as vādi and
saṃvādi, but seen from the
point of view of the śāstras (treatises) it is not
possible for re and Dha to be
saṃvādī (i.e. consonant)...
-
classical Raga Bhimpalasi, only that the Vadi/
Samvadi are switched. So in Bhimpalasi, the Vadi is Ma and
Samvadi is Sa. Pa is
given considerable emphasis and...
-
Gandhaar is
referred to as the
Vaadi swar (main swar), and
Nishaad is
called Samvadi swar (second-most
prominent swar).
Along with
Gandhaar and Nishaad, the...
- sing
PmRSnSRRSRnSPnmPgmnnPmgmRSnS in raga Adana,
given that raga's vadi-
samvadi and the
rules of the raga (see
swara for
explanation of the notes). The...
- R S 'N S Some
performances include shades of
tivra MA Ga as vadi Ni as
samvadi S g R g S R 'N S, G m n P g - S S g R S 'N S 'N - 'P 'd 'P 'N S - g R g...
-
should be weak, and
should be
included only in
Avarohi phrases. Vadi: Pa
Samvadi: Sa
Arohana Ṇ S G̱ M̄ P N Ṡ
Avarohana Ṡ N Ḏ P M̄ G̱ Ṟ S Pakad...
- Prayogams. This Raga
invokes Bhakti mixed with
immense joy
through a Vadi-
Samvadi relationship between many of its
swaras such as Sa-Ma, Ri-Dha and Ga-Ni...
-
komal re, sa Pakad: ni re ma pa, ni pa ni, ni ma re ni re sa Vadi: ma
Samvadi: Sa Time:
Early morning Note that the
following songs are
composed in Revati...
- the uttaranga,
which contains higher notes.
Every raga has a vadi and a
samvadi. The vadi is the most
prominent svara,
which means that an improvising...
