{{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''; the vadi and samavadi are in most cases a fourth or 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> Hence, the samavadi of Sa (Shadjam/C) is Pa (Panchamam/G) and the samavadi of Ri (Rishabham/D) is Dha (Dhaivatam/A). The samavadi is the perfect fifth of the vadi.
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