vol_II_p045 — Bṛhaddeśī

Bṛhaddeśī · Volume II

pp. 72–73folio 045

Devanāgarī (Bṛhaddeśī)

table

prastāra (āndhrī rāga, suite des phrases mélodiques numérotées 11-16) — Fin du prastāra du rāga Āndhrī (chap. 8), juste avant le colophon [|| ityāndhrī ||] et la mention 'andhrī | mā ||' (nyāsa = madhyama).

svaras	n°
['nī', 'nī', 'nī', 'nī', 'ri', 'ri', 'ri', 'ri']	11
['ri', 'ri', 'mā', 'nī', 'sā', 'sā', 'nī', 'nī']	12
['pā', 'pā', 'mā', 'gari', 'gā', 'gā', 'gā', 'gā']	13
['ri', 'ri', 'gā', 'sama', 'mā', 'mā', 'pā', 'pā']	14
['mā', 'mā', 'nī', 'nī', 'sā', 'ri', 'gā', 'pā']	15
['riga', 'gā', 'gā', 'gā', 'gā', 'gā', 'gā', 'gā']	16

— (११)–(१६)

अन्ध्री । म॥

[९. नन्दयन्ती]

नन्दयन्त्यां पञ्चमोंऽशो गान्धारस्तु ग्रह: स्मृत:² ।

कैश्चितु पञ्चम: प्रोक्तो ग्रहोऽस्यां गीतवेदिभि:⁴¹ ॥२३॥

मन्द्रर्षभस्य(मन्द्र) बाहुल्यं षाडवं षड्जलोपत:⁶।

हृष्यका मूर्छना⁵ ताल: पूर्ववद् द्विगुणा: कला:¹⁰ ॥२४॥ ^१८८पूर्वावद्<b>॰</b>ना विनियोगो ध्रुवागाने प्रथमप्रेक्षणे भवेत् ॥२५॥

The state of the state of the state of the state of the state of the state of the state of the state of the state of the state of the state of the state of the state of the state of the state of the state of the state of t

English — Sharma (translation)

(11)

ni ni ni ni ri ri ri ri

(12)

rĩ rĩ gã nĩ sã sã nĩ nĩ

(13)

pā pā mā gari gā gā gā gā

(14)

rī rī mā sama mā mā pā pā

(15)

mā mā nī nī sā rī gā pā riga gã gã gã gã gã gã gã

(16)

Thus ends andhri.

[9. Nandayanti]

In nandayantī, pañcama is the amśa, gāndhāra is known to be the graha. Pañcama is said to be the graha in this (jāti) by some knowledgeable ones in gīta (melody).⁴¹

(23)

There is the abundance of the lower rṣabha. The hexatonic form comes about with the omission of şadja. Hṛṣyakā is the mūrchanā.⁵ The tāla is as in the previous one ( āndhrī / gāndhārapañcamī). The kalās are twice in number.¹⁰

(24)

The application is (prescribed) in the singing of dhruvās in the first act.

(25)

Gāndhārais the nyāsain this (jāti).⁹ Madhyama and pañcama are apanyāsas.⁸ The prastāra is thus –

(1)

gā gā gā gā pā pā dhapa mā

(2)

dhā dhā dhā dhā dhā nī sani dhā

(3)

pā pā pā pā pā pā pā pā `

(4)

dhā nī mā pā gā gā gā gā

(5)

mã rĩ gã gã gã gã gã gâ

(6)

mã mã pã pã dhã nidha pã pã

(7)

dhã nĩ mã pã gã gã gã gã

(8)

gama pā pā pā mā mā gā gā

(9)

dhā nī mā pā gā gā gā gā

(10)

mā mā mā mā mā mā mā mā

(11)

rī gā mā pā pama pā pā nī

(12)

rî rî rî rî pâ pâ mã mã A . . . . . . . . . . . . . . . . . . .

ordered sequence list

āndhrī jāti — prastāra phrases (continuation, items 11-16) — End of prastāra listing for āndhrī jāti, concluding with 'Thus ends āndhrī.'

n · phrase

— (11)–(16)

ordered sequence list

nandayantī jāti — prastāra phrases (items 1-12) — Section [9. Nandayantī]: aṃśa=pañcama, graha=gāndhāra; hexatonic with omission of ṣaḍja; mūrchanā=hṛṣyakā; tāla as in āndhrī/gāndhārapañcamī; kalās twice; dhruvās in first act; nyāsa=gāndhāra; madhyama and pañcama are apanyāsa.

n · phrase

— The prastāra is: (1)–(12)

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Sanskrit attestations (9)

1.[attribution]Gīta experts (gītavedihi) are cited as authorities for determining the graha of Nandayantiकैश्चितु पञ्चमः प्रोक्तो ग्रहोऽस्या गीतवेदिभिः

2.[definition]Nandayanti is a jāti (melodic type) with pañcama as its aṁśa and gāndhāra as its grahaनन्दयन्त्या पञ्चमोंऽशो गान्धारस्तु ग्रहः स्मृतः

4.[relation]In Nandayanti, pañcama is alternatively said to be the graha by some knowledgeable ones in gītaकैश्चितु पञ्चमः प्रोक्तो ग्रहोऽस्या गीतवेदिभिः

5.[relation]Hṛṣyakā is the mūrchanā of Nandayantiहृष्यका मूर्छना

6.[structural]Nandayanti is hexatonic (şadava), formed by the omission of şadja with abundance of the lower ṛṣabhaमन्द्रर्षभस्य बाहुल्यं षाडवं षड्जलोपतः

7.[structural] ⇄Prastāra is a systematized sequence of note patterns presented for Nandayanti jātiप्रस्तारः - गा गा गा पा पा धप मा (१)

8.[structural]In Nandayanti, madhyama and pañcama are apanyāsas (secondary resting points)अस्या गान्धारो न्यासः । मध्यमपञ्चमावपन्यासौ

9.[structural]Gāndhāra is the nyāsa (primary resting point) in Nandayantiअस्या गान्धारो न्यासः

10.[structural]The kalās (time units) of Nandayanti are twice in number compared to the previous jāti (Andhri)द्विगुणाः कलाः

English attestations (10)

1.[attribution] ⇄Gīta experts (gītavedihi) are cited as authorities for determining the graha of NandayantiPañcama is said to be the graha in this (jāti) by some knowledgeable ones in gīta (melody).

2.[definition] ⇄Nandayanti is a jāti (melodic type) with pañcama as its aṁśa and gāndhāra as its grahaIn nandayantī, pañcama is the aṁśa, gāndhāra is known to be the graha.

3.[definition]Andhri is a jāti (melodic type) distinct from NandayantiThus ends andhri. [9. Nandayanti]

4.[relation] ⇄In Nandayanti, pañcama is alternatively said to be the graha by some knowledgeable ones in gītaPañcama is said to be the graha in this (jāti) by some knowledgeable ones in gīta (melody).

5.[relation] ⇄Hṛṣyakā is the mūrchanā of NandayantiHṛṣyakā is the mūrchanā.

6.[structural] ⇄Nandayanti is hexatonic (şadava), formed by the omission of şadja with abundance of the lower ṛṣabhaThere is the abundance of the lower ṛṣabha. The hexatonic form comes about with the omission of şadja.

7.[structural]Prastāra is a systematized sequence of note patterns presented for Nandayanti jātiThe prastāra is thus – (1) gā gā gā gā pā pā dhapa mā

8.[structural] ⇄In Nandayanti, madhyama and pañcama are apanyāsas (secondary resting points)Gāndhārais the nyāsain this (jāti). Madhyama and pañcama are apanyāsas.

9.[structural] ⇄Gāndhāra is the nyāsa (primary resting point) in NandayantiGāndhārais the nyāsain this (jāti).

10.[structural] ⇄The kalās (time units) of Nandayanti are twice in number compared to the previous jāti (Andhri)The kalās are twice in number.

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