Vādī and Samvādī

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In theory, two notes dominate a raga in terms of the frequency of their appearance in the melody. These notes are called vādī (literally "the sounding") and samvādī (the "co-sounding"): « The vādī is that note which is sounded clearly again and again, a note which is superabundant in a rāg. The samvādī is described as being a note used less than the vādī but more than the other notes in the rāg. » (Bhātkhaṇde, as cited by Jairazbhoy, 2011: 42) The other svara of a raga are named anuvādī ("echoing," "resonating").

 

The vādī svara of a raga is often a nyāsa or viśrānti svara, that means a note that can be sustained for a long time and on which the musician ends his musical phrases. It is also often used as a starting point (graha svara) for melodic developments. The position of the vādī svara in the octave determines the “centre of gravity” of a the raga; the preferred region for its melodic developments. This region can be either in the first tetrachord (between Sa and Pa) called pūrvāṅga, or in the second tetrachord (between Pa and Ṡa) named uttarāṅga. It can also be in the middle region that links the two tetrachords (madhyamāṅga).

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Reference:

• Jairazbhoy, N. A. (2011). The Rāgs of North Indian Music: Their Structure and Evolution. Mumbai : Popular Prakashan PVT. LTD.

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