Madhukarī has
pañcama as amśa, is replete with the same,
has dha
(dhaivata) as the concluding note5,
there is the mutual concert of gandhara
and pañcama6, (and)
commingling of dhaivata and niṣāda is seen7.
This bhāṣā,
born of kakubha, is complete and sankīrņā (mixed).158
<math>(76-77)</math>
Illustration-[
Pāpā] ninininipadhapā dhanisāsanisani. Sapadhānidhādhapā
dharisāsāgarimagarisasama. Garisānininidhapāpāsāgā. Pāpāmādhā.
Mādhādhāmā. Nīsāsādhādhā.
Madhukarī [v]
Šakamišritā is a bhāṣā having niṣāda as amśa,
ṣaḍja as the concluding note10,
combined with niṣāda as graha,
should be known to be devoid of ṛṣabha11 and
the concert of niṣāda and
pañcama with
dhaivata is there.
The shade or
reflection (chāyā)31 (?)2 mixed with śaka is there.
(78-79)
Illustration - Nīsānigadhamāgāririnininisā dhādhānidhāgamāmāmapāsā
sanisāsādhādhāmanīdhādhāmānī dhāpāmādhānīsāsāsā nīsāsārigārisānīsānī sā-
nidhādhāmāsānīmāgārīri [sā]. Šakamiśritā [vi]
Bhinnapañcamī should be known to have dhaivata as the concluding note12
and
madhyama as amśa,
miṣāda is kākalī mixed profusely with dhaivata14, where
there is seen the concert of kākalī and
dhaivata and where one should put up
communion between
pañcama and ṛṣabha. This is complete and
sādhāraṇakṛtā,
i.e., involves the use of
antara and
kākalī and
kākalī is frequent. 32
<math>(80-81)</math>
Illustration - Dhanidhādhānidhāpāpāmaripāpāpapamādhādhāpāsāsa nisāsa
niririsārī. Dhādhā. Parimāpāpā. Pamadhādhāmānī dhāpāpāparī dhāpāpāpā
dhādhāsa nidhā.
Bhinnapañcamī [vii]
These seven bhāṣās of kakubha have been indicated.3
(82)
