SAMPADA- LEVEL 4 THEORY
CONTENT
Amsa-/-Vadi-Swaras---ans-✔✔Amsa-Swara:-the-swara-of-prime-importance-and-
dominance-(jeeva-swara)-in-a-raga-"Bahulatva-prayogeshu-amsa-lakshanam"-
Vadi-Swara:-the-"king"-or-root-swara-in-a-raga-(the-specialty-of-a-raga-depends-on-vadi-
swaram)
Examples-of-Vadi-Swaras:-
--G-in-Shankarabharnam
--M-in-Hindolam
-N-in-Kalyani
Samvadi-Swaras---ans-✔✔Samvadi-Swara:-a-swara-that-has-a-concordant-effect-with-the-
vadi-swara.-Samvadi-swara-pairs-are-at-either-9-/-13-sruthi-(Trayodasa-Navantarao),-so-
they-are-in-consonance.-Samavdi-swaras-are-compared-to-the-prime-minister-to-the-king.-
Ex:-Suddha-M-and-P-from-Adhara-shadja-are-at-9-and-13-intervals-
Chart-of-Shadja-and-P-
S:-P:-
Suddha-R---Suddha-D-
Chatusruti-R---Chatusruthi-D
Sadharna-G---Kaisiki-N-
Antara-G---Kakali-N
Suddha-M---Tara-S
*and-so-on
Chart-of-S-and-Suddha-M--
S:-M:-
Suddha-R---Prati-M
Chatusruthi-R---P-
Sadharna-G---Suddha-D-
Antara-G---Chatusruthi-D
Suddha-M---Kaisiki-N
*and-so-on
, Vivadi-Swaras---ans-✔✔Vivadi-Swaras--these-swaras-produce-a-discordant-effect-along-
with-the-vadi-swara.-Composers-have-to-use-vivadi-swaras-in-appropriate-phrases-to-
avoid-a-dissonant-effect-and-disharmony.-Vivadi-swaras-are-2-sruthis-higher-than-the-
preceding-note.-There-are-4-vivadi-swaras:-
1)-Suddha-G
2)-Shatsruthi-R
3)-Suddha-Nishadam
4)-Shatsruthi-D-
Position-on-Chart-(only-includes-placement-of-4-notes):
Chatusruthi-R--Suddha-G
Sadharana-G--Shatsruthi-R-
Chatusruthi-D--Suddha-Nishadam
Kaisiki-Nishadam--Shatsruthi-D
Ragas-with-1-or-more-vivadi-swaras-are-known-as-vivadi-ragams:-Ex:-Nata-ragam--
Shatsruthi-R
Anuvadi-Swara---ans-✔✔Anuvadi-Swaras:-these-swaras-follow-the-vadi-swara,-but-they-
neither-have-a-concordant-or-discordant-effect-on-the-vadi-swaram-in-a-ragam-(they-are-
like-an-attendant).
Muktayi---ans-✔✔General-Info:-Muktayi-is-a-symmetrical-and-logical-arrangement-of-
swara/jāti-patterns,-and-it-is-played/sung-at-the-end-of-swarakalpana.-Muktayi-was-
derived-from-"Mukta",-which-means-"what-is-leftover".-It-is-also-known-as-"Muktayimpu"-
(means-completion),-and-"korvai"-in-Tamil.-The-muktayi-indicates-the-completion-of-the-
swara,-and-it-is-considered-the-climax,-giving-it-an-excellent-finish.-Muktayi-is-planned-
ahead,-and-b/c-of-this,-it-comes-under-"Kalpita-Sangita".-It-is-sung/played-three-times-for-
identification,-and-on-completion,-a-muktayi-should-land-smoothly-on-the-samam-or-jaga.-
Where-the-Muktayi-Lands:-
-IF-the-akshara-kala-(the-total-#-of-letters)-of-a-muktayi-is-equal-to-the-avrttaksara-of-the-
tala,-then-the-muktayi-should-start-and-end-on-the-samam.-
-IF-the-muktayi-is-sung-to-the-jaga,-then-the-muktayi-should-be-started-after-leaving-the-
jaga-letters-from-the-samam-(Like-taka)
-IF-akshara-kala-and-avrttaksara-are-different,-then-the-place-the-tala-needs-to-start-in-
order-to-end-on-samam-should-be-calculated-as-per-the-example-below:-
Ex:-Muktayi-of-40-aksharas-in-3rd-speed--
#-of-Muktayi-aksharas-sung-3-times:-3*40=120
CONTENT
Amsa-/-Vadi-Swaras---ans-✔✔Amsa-Swara:-the-swara-of-prime-importance-and-
dominance-(jeeva-swara)-in-a-raga-"Bahulatva-prayogeshu-amsa-lakshanam"-
Vadi-Swara:-the-"king"-or-root-swara-in-a-raga-(the-specialty-of-a-raga-depends-on-vadi-
swaram)
Examples-of-Vadi-Swaras:-
--G-in-Shankarabharnam
--M-in-Hindolam
-N-in-Kalyani
Samvadi-Swaras---ans-✔✔Samvadi-Swara:-a-swara-that-has-a-concordant-effect-with-the-
vadi-swara.-Samvadi-swara-pairs-are-at-either-9-/-13-sruthi-(Trayodasa-Navantarao),-so-
they-are-in-consonance.-Samavdi-swaras-are-compared-to-the-prime-minister-to-the-king.-
Ex:-Suddha-M-and-P-from-Adhara-shadja-are-at-9-and-13-intervals-
Chart-of-Shadja-and-P-
S:-P:-
Suddha-R---Suddha-D-
Chatusruti-R---Chatusruthi-D
Sadharna-G---Kaisiki-N-
Antara-G---Kakali-N
Suddha-M---Tara-S
*and-so-on
Chart-of-S-and-Suddha-M--
S:-M:-
Suddha-R---Prati-M
Chatusruthi-R---P-
Sadharna-G---Suddha-D-
Antara-G---Chatusruthi-D
Suddha-M---Kaisiki-N
*and-so-on
, Vivadi-Swaras---ans-✔✔Vivadi-Swaras--these-swaras-produce-a-discordant-effect-along-
with-the-vadi-swara.-Composers-have-to-use-vivadi-swaras-in-appropriate-phrases-to-
avoid-a-dissonant-effect-and-disharmony.-Vivadi-swaras-are-2-sruthis-higher-than-the-
preceding-note.-There-are-4-vivadi-swaras:-
1)-Suddha-G
2)-Shatsruthi-R
3)-Suddha-Nishadam
4)-Shatsruthi-D-
Position-on-Chart-(only-includes-placement-of-4-notes):
Chatusruthi-R--Suddha-G
Sadharana-G--Shatsruthi-R-
Chatusruthi-D--Suddha-Nishadam
Kaisiki-Nishadam--Shatsruthi-D
Ragas-with-1-or-more-vivadi-swaras-are-known-as-vivadi-ragams:-Ex:-Nata-ragam--
Shatsruthi-R
Anuvadi-Swara---ans-✔✔Anuvadi-Swaras:-these-swaras-follow-the-vadi-swara,-but-they-
neither-have-a-concordant-or-discordant-effect-on-the-vadi-swaram-in-a-ragam-(they-are-
like-an-attendant).
Muktayi---ans-✔✔General-Info:-Muktayi-is-a-symmetrical-and-logical-arrangement-of-
swara/jāti-patterns,-and-it-is-played/sung-at-the-end-of-swarakalpana.-Muktayi-was-
derived-from-"Mukta",-which-means-"what-is-leftover".-It-is-also-known-as-"Muktayimpu"-
(means-completion),-and-"korvai"-in-Tamil.-The-muktayi-indicates-the-completion-of-the-
swara,-and-it-is-considered-the-climax,-giving-it-an-excellent-finish.-Muktayi-is-planned-
ahead,-and-b/c-of-this,-it-comes-under-"Kalpita-Sangita".-It-is-sung/played-three-times-for-
identification,-and-on-completion,-a-muktayi-should-land-smoothly-on-the-samam-or-jaga.-
Where-the-Muktayi-Lands:-
-IF-the-akshara-kala-(the-total-#-of-letters)-of-a-muktayi-is-equal-to-the-avrttaksara-of-the-
tala,-then-the-muktayi-should-start-and-end-on-the-samam.-
-IF-the-muktayi-is-sung-to-the-jaga,-then-the-muktayi-should-be-started-after-leaving-the-
jaga-letters-from-the-samam-(Like-taka)
-IF-akshara-kala-and-avrttaksara-are-different,-then-the-place-the-tala-needs-to-start-in-
order-to-end-on-samam-should-be-calculated-as-per-the-example-below:-
Ex:-Muktayi-of-40-aksharas-in-3rd-speed--
#-of-Muktayi-aksharas-sung-3-times:-3*40=120
