Which notes are Vadi-Samvadi in Raga Rageshree?
Soubhik Chakraborty, Rayalla Ranganayakulu, Shivee Chauhan, Sandeep, Singh Solanki, Kartik Mahto

TL;DR
This paper investigates the Vadi and Samvadi notes in Raga Rageshree using statistical analysis of vocal recordings, revealing phase-dependent note distributions and proposing a novel approach combining musical and statistical insights.
Contribution
It introduces a statistical framework for identifying Vadi-Samvadi notes in Raga Rageshree, addressing the complex quasi-multinomial behavior observed in the last phase.
Findings
Vadi note identified from the last phase analysis.
Distribution is multinomial in first two phases.
Note occurrence shows unstable, quasi-multinomial behavior in the last phase.
Abstract
The notes which play the most important and second most important roles in expressing a raga are called Vadi and Samvadi swars respectively in (North) Indian Classical music. Like Bageshree, Bhairavi, Shankara, Hamir and Kalingra, Rageshree is another controversial raga so far as the choice of Vadi-Samvadi selection is concerned where there are two different opinions. In the present work, a two minute vocal recording of raga Rageshree is subjected to a careful statistical analysis. Our analysis is broken into three phases: first half, middle half and last half. Under a multinomial model set up holding appreciably in the first two phases, only one opinion is found acceptable. In the last phase the distribution seems to be quasi multinomial, characterized by an unstable nature of relative occurrence of pitch of all the notes and although the note whose relative occurrence of pitch…
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Taxonomy
TopicsAdvanced Differential Equations and Dynamical Systems · Indian and Buddhist Studies · Medieval and Classical Philosophy
