vol_II_p099 — Bṛhaddeśī

Bṛhaddeśī · Volume II

pp. 180–181folio 099

Devanāgarī (Bṛhaddeśī)

१३०सुसम्पूर्णस्वरा ह्येषा भाषा वै गीयते जनै:।

बाह्यषाडविका तत्र भाषा वेसरषाडवे ॥१३८॥ उदाहरणम् -मामासारिसारिगारिसासासारिमासासा<i>•</i>पाइवम् पाधैवतधापासामागापामध्यम। गागागारिगाग- गधरिमा गानिसानिसाधपामामा । बाह्यषाडवा । [१]

षड्जांशा मध्यमन्यासा गान्धारमन्द्रभूषिता¹⁰गान्धा(रं?रे) ।

कर्तव्या षाडवा ह्येपा ^१३१नादाख्या रागषाडवे ॥१३९॥

पञ्चमेन विहीना तु षाडवा सम्प्रकीर्तिता¹¹ ।

सङ्कीर्णेयं सदा ख्याता लोकानांलोकिनी रिज्जकामिका रिञ्जकाभावेसर ॰ मता¹ ॥१४०॥ उदाहरणम् - सासानिमामा सारिमामाधामामा रिगारिरिनिगासानिधामामा । नादाख्या। [२] [एते] वेसरषाडवे।⁴

[१३. अथ भिन्नताने]

पञ्चमांशा तदन्ता च भिन्नताने प्रकीर्तिता ।

ऋषभेण विहीना तु कर्तव्या गीतकोविदै: ॥

साधारणा(उदा?) साधारणकृता होषा भाषा ^१३२तानोद्भवा मता ॥१४१॥ .....[तानोद्भवा]

[एषा भिन्नताने]

[१४. अथ गान्धारपञ्चमे]

.....^१३३[गान्धारी]

English — Sharma (translation)

Illustration-Māmāsārisārigārisāsāsārimā pādhaivatadhāpāsāmāgāpāmadhya- mā gāgāgārigāgagadharimā gānisānisādhapāmāmā. Bāhyaṣāḍavā [i]⁶ Having şadjaas amśa, madhyamaas nyāsa, embellished with gāndhāra in the mandra (sthāna, lower register), this (bhāṣā) nādākhyā⁶⁸ should be made hexatonic in rāga ṣāḍava⁷. This (bhāṣā) has been said to be hexatonic, with the omission of <math>pa\bar{n}cama</math>. This (<math>bh\bar{a}s\bar{a}</math>) is always said to be <math>sa\bar{n}k\bar{i}rn\bar{a}^{69}</math> (and) delightful to the people. <math>(139-140)</math> Illustration - Sāsānimāmā sārimāmādhāmāmā rigāririnigāsānidhāmāmā. Nādākhyā [ii] These two are there in vesarașādava. 13. Now the bhāṣās in bhinnatāna Having pañçama as amsa and the same as the concluding note, this sādhāraņakṛtā⁷⁰ bhāṣā is known to be tānodbhavā. It has to be made devoid of rṣabha, by the knowledgeable ones in music.

(141)

.....[Tānodbhavā]

[This one is in bhinnatāna]

[14. Bhāṣās in gāndhārapancama]

.....[Gāndhārī]

← II p098 index II p100 →

Sanskrit attestations (9)

1.[attribution] ⇄Nādākhyā is always described as saṅkīrņā (mixed/intricate) and delightful to peopleसङ्कीर्णेयं सदा ख्याता लोकाना रिञ्जका मता

2.[definition] ⇄Gāndhārapancama is introduced as a distinct category of bhāṣās[१४. अथ गान्धारपञ्चमे]

3.[definition]Bhinnatāna is a structural category of bhāṣās (musical phrases)[13. अथ भिन्नताने] पञ्चमांशा तदन्ता च भिन्नताने प्रकीर्तिता

4.[enumeration] ⇄Vesarașādava is a category containing at least two distinct bhāṣā types[एते] वेसरषाडवे।

6.[structural] ⇄Bāhyaṣāḍavā is a hexatonic (ṣāḍava) form exemplified by a specific melodic phraseउदाहरणम् -मामासारिसारिगारिसासासारिमा पाधैवतधापासामागापामध्यम। गागागारिगाग- सासा ग ध रि मा गा नि सा नि सा ध पा मा मा । बाह्यषाडवा । [१]

8.[structural] ⇄Tānodbhavā is a bhāṣā type in bhinnatāna with pañcama as both aṁśa and concluding noteपञ्चमांशा तदन्ता च भिन्नताने प्रकीर्तिता

9.[structural] ⇄Tānodbhavā must be performed without ṛṣabha by knowledgeable musiciansऋषभेण विहीना तु कर्तव्या गीतकोविदैः

10.[structural] ⇄Bāhyaṣāḍavā has śadja as aṁśa and madhyama as nyāsa with gāndhāra embellishmentषड्ज?ांशा मध्यमन्यासा गान्धारमन्द्रभूषिता

11.[structural] ⇄Nādākhyā is characterized by omission of pañcama (fifth note)पञ्चमेन विहीना तु षाडवा सम्प्रकीर्तिता

English attestations (10)

1.[attribution]Nādākhyā is always described as saṅkīrņā (mixed/intricate) and delightful to peopleThis (bhar{a}sar{a}) is always said to be saar{n}kar{i}rnar{a} (and) delightful to the people.

2.[definition]Gāndhārapancama is introduced as a distinct category of bhāṣās[14. Bhāṣās in gāndhārapancama]

4.[enumeration]Vesarașādava is a category containing at least two distinct bhāṣā typesThese two are there in vesarașādava. ¹³

5.[relation]Sādhāraņakṛtā is a descriptor applied to the tānodbhavā bhāṣā typethis sādhāraņakṛtā bhāṣā is known to be tānodbhavā.

6.[structural]Bāhyaṣāḍavā is a hexatonic (ṣāḍava) form exemplified by a specific melodic phraseIllustration-Māmāsārisārigārisāsāsārimā pādhaivatadhāpāsāmāgāpāmadhya- mā gāgāgārigāgagadharimā gānisānisādhapāmāmā. Bāhyaṣāḍavā [i]

7.[structural]Nādākhyā is a bhāṣā (musical phrase type) that should be made hexatonic with specific structural featuresthis (bhāṣā) nādākhyā should be made hexatonic in rāga ṣāḍava

8.[structural]Tānodbhavā is a bhāṣā type in bhinnatāna with pañcama as both aṁśa and concluding noteHaving pañçama as amsa and the same as the concluding note, this sādhāraņakṛtā bhāṣā is known to be tānodbhavā.

9.[structural]Tānodbhavā must be performed without ṛṣabha by knowledgeable musiciansIt has to be made devoid of ṛṣabha, by the knowledgeable ones in music.

10.[structural]Bāhyaṣāḍavā has śadja as aṁśa and madhyama as nyāsa with gāndhāra embellishmentHaving şadjaas aṁśa, madhyamaas nyāsa, embellished with gāndhāra in the mandra (sthāna, lower register)

11.[structural]Nādākhyā is characterized by omission of pañcama (fifth note)This (bhāṣā) has been said to be hexatonic, with the omission of paar{n}cama.

← II p098 index II p100 →