Samavadi

2023-07-24T17:19:29Z

2600:1700:5B2C:9810:ECBD:4DE9:153B:293: improve intro for consistency and cleaned formatting for clarity

{{Use dmy dates|date=July 2020}}
{{Use Indian English|date=July 2020}}
The '''samavadi''' or '''samvadi''' is the second-most prominent (though not necessarily second-most played) note of a [[raga]] in [[Indian classical music]].<ref name="Lavezzoli2006">{{cite book|author=Peter Lavezzoli|title=The Dawn of Indian Music in the West|url=https://books.google.com/books?id=OSZKCXtx-wEC&pg=PA22|date=24 April 2006|publisher=A&C Black|isbn=978-0-8264-1815-9|pages=22–}}</ref> The primary note of the raga is the ''[[Vadi (Hindustani classical music)|vadi]]''; the vadi and samavadi are in most cases a [[Perfect fourth|fourth]] or [[fifth (interval)|fifth]] apart.<ref name="ShiraliShankar1936">{{cite book|author1=Vishnudass Shirali|author2=Uday Shankar|title=Hindu music and rhythm|url=https://books.google.com/books?id=WuUXAQAAIAAJ|accessdate=20 April 2013|date=1936|publisher=Printed by Studium}}</ref>

A ''samavadi'' is a note of special significance. ''Vadi'' is often translated as the "king" note of a raga, while the ''samavadi'' is translated as the "prime minister" or "vizier" note. A performer will typically try to emphasize the ''samavadi'' along with the vadi when improvising on a certain raga. The ''vadi'' and ''samavadi'' can be crucial in defining the raga at hand, and in some cases two ragas with the same [[arohana]] and [[avrohana]] can be distinguished only by the prominence of their sonant{{what|date=May 2018}} and consonant notes.

==References==
{{reflist}}

[[Category:Hindustani music terminology]]
[[Category:Carnatic music terminology]]

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Samavadi