Illustration-Sāpāpādhāmāmā pāgāmagāpadhādhāpāgamā gāpāpāpādhāpāsā
sāpādhāpamagāmāmā gāmasāsāsāgāgāmāgāmāmā.
Şadjamadhyamā [iv]
Having
madhyama as amśa, ṣaḍja as the concluding note, being weak in
pañcama, with profusion of
dhaivata - niṣāda and similarly of ṣaḍja-
dhaivata,
this bhāṣā, madhurī, should be known to be hexatonic in prenkhaka6234 (a
synonym of
hindolaka).
(88)
Illustration - Māpāpādhādhādhāmādhaninipāsanidhasāsā
māpādhanisa
nisāsā māpānisāsārirīgamagārīsāsā nidhāpāpāpādhanidhāsāsā rirīgamāgari
sāsā. Madhurī [v]
Thus end the
bhāṣās of
hindolaka.
Having pancama as amsa and the same as the concluding note, replete
with
niṣāda, being complete, this
ābhīrī bhāṣā is born of
deśa35 (region), rises
out of
pañcama (rāga) and should be known to be the first one arising out of
pañcama. Mutual concert between șadja-
dhaivata is to be seen here.
<math>(89-90)</math>
Illustration - Pādhāmādhanidhāpāpāpā padhanidhāmāmādhānisāsā
sanidhanisadhānisānidhāsā dharimāmādhāninidhāpāpā pamamadhanisāsā
saninisāsāsanigarimamamāgarisasa sadhanipādhāmāmāsarimādhārimapāpā.
Abhīrī [i]
Bhāvinī has pañcama as nyāsa11,
gāndhāra as amśa (and) is weak in
dhaivata.
Where the mutual movement of
madhyama-
pañcama is seen to be dense,
the
bhāṣā bhāvinī should be known to be complete by the knowledgeable ones
in gändharva5.36
(91)
Illustration-Gāmāpāgamapānidhā [pā]. Gamapāmāgāgārī rīgāmīdhāpāpāpāpā
Māmāgāmāpāpā māpāpāmādhārisagagamāpā māgāriripāpā. Bhāvini [ii]
