The different notes (swar) of the rag have different levels of significance. The note which is strongly emphasized is referred to as the vadi. Another note which is strong but only slightly less so is the samavadi. A note which is neither emphasized nor de-emphasized is called anuvadi. Notes which are de-emphasized are referred to as being durbal, while notes which are excluded are called vivadi.
The concept of vadi and samavadi are particularly problematic for the music student. Although certain notes clearly show importance, the "official" vadi and samavadi are sometimes quite different. In many cases this reflects the fact that the theory was laid down quite a few years ago while the performance of the rags has continued to evolve. In other cases it reflects Bhatkhande's failed efforts to develop a cohesive theory about the structure of rags and the time of day that they should be performed. For whatever reasons, the concept and application of the Vadi / Samvadi theory has become so muddled and irrelevant that there is a growing move to just ignore it entirely.
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