The Samavadi is the second-most prominent (though not necessarily second-most played) note of a
raga in
Indian classical music.
The primary note of the raga is the ''
vadi''; the vadi and samvadi are in most cases a
fourth or
fifth apart.
A ''samavadi'' is a note of special significance. It is like the ministry to the monarch. A performer will typically try to emphasize the ''samvadi'' along with the vadi when improvising on a certain raga. The ''vadi'' and ''samvadi'' can be crucial in defining the raga at hand, and in some cases two ragas with the same
arohana
Arohana, Arohanam or Aroha, in the context of Indian classical music, is the ascending scale of notes in a raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The pitch increases as we ...
and
avrohana
An Avarohana, Avarohanam or Avaroha, in the context of Indian classical music, is the descending scale of any raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The notes descend in pitc ...
can be distinguished only by the prominence of their sonant and consonant notes.
References
{{reflist
Hindustani music terminology
Carnatic music terminology