vol_II_p101 — Bṛhaddeśī

Bṛhaddeśī · Volume II

pp. 184–185folio 101

Devanāgarī

-- 1 History 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 the BRHADDEŚĪ

[१. अथ टके]

पञ्चमांशा तु षड्जान्ता..(ता? न्ता) रभाषा टक्केभाषे प्रयोजयेत्⁸²।

^३देवालवर्धनी पूर्णा भाषाचैषा ॰ चासामनुक्रमात्⁹ ॥१॥ उदाहरणम् - पापानीसासा । नीसारीरीघापापामामा मामाधासासासनिसरिरिरि रीनिधमागापा धासासानीधानीधा[सा सा]। देवालवर्धनी । [१] मध्यमांशा तु षड्जान्ता पौराली देशसम्भवा⁶ । सम्पूर्णा गीयते नित्यं भाषा वै टक्करागजा¹⁰⁴ ॥२॥ उदाहरणम् - मामामामा गारीरीरी सारिमारि गागारिगरिग सासा निधामा धामामाधा धनि- सानिगागागागानिधानिसा सामानी गमापधानी निधापधानि धापाममामा मामागामागारिरिगा- सानिसा। पौराली । [२]

धैवतांशा(वैध ? धैव) तु षड्जान्ता पञ्चमर्षभवर्जिता¹¹ ।

टक्कभाषाशकभाषा त्वौडुविता त्रावणी कामिनीषु च¹² ॥३॥ उदाहरणम् – धामगाधा मागमामाग धानिसासा । गागामधामागसासा । मागा सागा । गामा- माधमागसासासा । त्रावणी । [३]

मध्यमांशा तु षड्जान्ता तानवलितिकाऽपिविपामान वा¹³ ।

विभाषा टक्करागस्य॰रागस्यैपा गीयते⁵³ ४मध्यमाश्रितामूढलालिता ॥४॥

उदाहरणम् – मापाधापामासा पधानीधापापामामागरिसातानल॰ धामाधाधामाधामाधानीसासा ।

रिरिधारिरिमागामारीसासा । साधाधनिसासा । तानवलितिका । [४] भगान्धारांशा तु षड्जान्ता दोह्या पञ्चस्वरा शृभा । साधारणा तु पङ्जांशान्ता पञ्चमर्षभहीना¹⁴<b>ल्होनं</b> तु देशाख्या टक्करागजा⁷ ॥५॥ স্ত(?) 1 A STATE OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF THE PARTY OF T

English — Sharma (translation)

[1. Now in takka]

One should use the bhāṣā having pañcama as amśa and ṣadja as the concluding note, in takka. Devālavardhanī is a complete bhāṣā in the order of these (bhāṣās).⁹

(1)

Illustration - Pāpānīsāsā. Nīsārīrīdhāpāpāmāmā māmādhāsā sāsanisaririri - rīnidhāmāgāpā dhāsāsānīdhānīdhā [sāsā]. Devālavardhanī [i] Having madhyama as amśa and ṣadja as the concluding note, paurālī is born of a deśa (region)⁶ (and) being a bhāṣā of ṭakkarāga is always sung as complete.⁴

(2)

Illustration-Māmāmāgārīrīrīsārimārigāgārigurigasāsānidhāmādhāmāmādhā dhanisanigagagaganidhanisa samanigamapadhani nidhapadhani dhapamamama māmāgāmā gāriri gāsānisā. Paurālī [ii] Trāvaṇī, the bhāṣā of ṭakka, has dhaivata as amśa and ṣadja as the concluding note, is pentatonic, being devoid of pañcama-ṛṣabha and is (used) in the context of amorous women.¹²

(3)

Illustration-Dhāmagādhā māgamāmāga dhānisāsā. Gāgāmadhāmāgasāsā. Māgā sāgā. Gāmāmādhāmāgasāsāsā. Trāvaņī [iii] Having madhyama as amśa and şadja as the concluding note, tānavalitikā is also sung as a vibhāṣā¹ of ṭakkarāga⁵³, based on madhyamagrāma² as an alternative (of bhāṣā).

(4)

Illustration - Māpādhāpāmāsā padhānīdhāpāpāmāmāgarisā dhāmādhādhā mādhādhāmādhānīsāsā. Riridhāririmāgāmārīsāsā. Sādhādhanisāsā. Tānavalitikā[iv] Having gāndhāra as amśa, ṣaḍja as the concluding note, the auspicious dohyā is comprised of five svaras, being devoid of pañcama and ṛṣabha¹⁴, bears a regional name³ (and) is born of takkarāga.

(5)

← II p100 index II p102 →

Sanskrit attestations (14)

1.[attribution]BRHADDEŚĪ is a treatise on music that describes bhāṣā forms and their structural propertiesBRHADDEŚĪ [१. अथ टके]

2.[definition] ⇄bhāṣā is a musical form used in takka performanceपञ्चमांशा तु षड्ज?ान्ता रभाषा टक्के प्रयोजयेत्

3.[definition] ⇄vibhāṣā is a variant form of a rāga, exemplified by tānavalitikā as a vibhāṣā of ṭakkarāgaविभाषा टक्करागस्य गीयते

4.[enumeration] ⇄ṭakkarāga generates multiple bhāṣā forms including Devālavardhanī, paurālī, Trāvaṇī, and dohyāभाषा वै टक्करागजा

5.[relation] ⇄tānavalitikā is sung as a vibhāṣā of ṭakkarāgaविभाषा टक्करागस्य गीयते

6.[relation] ⇄deśa (region) is a factor in the derivation of bhāṣā forms like paurālīपौराली देशसम्भवा

7.[relation] ⇄dohyā is born of takkarāga and bears a regional nameदेशाख्या टक्करागजा

8.[structural] ⇄aṁśa is a structural property of bhāṣā forms that characterizes them by a particular svaraपञ्चमांशा तु षड्ज?ान्ता रभाषा टक्के प्रयोजयेत्

9.[structural] ⇄Devālavardhanī is a complete bhāṣā with pañcama as aṁśa and ṣaḍja as concluding noteदेवालवर्धनी पूर्णा भाषा चासामनुक्रमात्

10.[structural] ⇄paurālī has madhyama as aṁśa and ṣaḍja as concluding note, is born of a deśa, and is a bhāṣā of ṭakkarāgaमध्यमांशा तु षड्ज?ान्ता पौराली देशसम्भवा । सम्पूर्णा गीयते नित्यं भाषा वै टक्करागजा

11.[structural] ⇄Trāvaṇī is a pentatonic bhāṣā of ṭakka with dhaivata as aṁśa, lacking pañcama and ṛṣabhaधैवतांशा तु षड्ज?ान्ता पञ्चमर्षभवर्ज?िता

12.[structural] ⇄Trāvaṇī is used in contexts of amorous womenकामिनीषु च

13.[structural] ⇄tānavalitikā has madhyama as aṁśa and ṣaḍja as concluding noteमध्यमांशा तु षड्ज?ान्ता तानवलितिकाऽपि वा

14.[structural] ⇄dohyā is a pentatonic form lacking pañcama and ṛṣabha, with gāndhāra as aṁśa and ṣaḍja as concluding noteदोह्या पञ्चस्वरा शृभा । साधारणा तु पङ्ज?ांशान्ता पञ्चमर्षभहीना

English attestations (13)

2.[definition]bhāṣā is a musical form used in takka performanceOne should use the bhāṣā having pañcama as aṁśa and ṣaḍja as the concluding note, in takka.

3.[definition]vibhāṣā is a variant form of a rāga, exemplified by tānavalitikā as a vibhāṣā of ṭakkarāgatānavalitikā is also sung as a vibhāṣā¹ of ṭakkarāga

4.[enumeration]ṭakkarāga generates multiple bhāṣā forms including Devālavardhanī, paurālī, Trāvaṇī, and dohyābeing a bhāṣā of ṭakkarāga is always sung as complete.

5.[relation]tānavalitikā is sung as a vibhāṣā of ṭakkarāgatānavalitikā is also sung as a vibhāṣā¹ of ṭakkarāga

6.[relation]deśa (region) is a factor in the derivation of bhāṣā forms like paurālīpaurālī is born of a deśa (region)

7.[relation]dohyā is born of takkarāga and bears a regional namebears a regional name and is born of takkarāga.

8.[structural]aṁśa is a structural property of bhāṣā forms that characterizes them by a particular svaraOne should use the bhāṣā having pañcama as aṁśa and ṣaḍja as the concluding note, in takka.

9.[structural]Devālavardhanī is a complete bhāṣā with pañcama as aṁśa and ṣaḍja as concluding noteDevālavardhanī is a complete bhāṣā in the order of these (bhāṣās).

10.[structural]paurālī has madhyama as aṁśa and ṣaḍja as concluding note, is born of a deśa, and is a bhāṣā of ṭakkarāgaHaving madhyama as aṁśa and ṣaḍja as the concluding note, paurālī is born of a deśa (region) (and) being a bhāṣā of ṭakkarāga is always sung as complete.

11.[structural]Trāvaṇī is a pentatonic bhāṣā of ṭakka with dhaivata as aṁśa, lacking pañcama and ṛṣabhaTrāvaṇī, the bhāṣā of ṭakka, has dhaivata as aṁśa and ṣaḍja as the concluding note, is pentatonic, being devoid of pañcama-ṛṣabha

12.[structural]Trāvaṇī is used in contexts of amorous womenis (used) in the context of amorous women.

13.[structural]tānavalitikā has madhyama as aṁśa and ṣaḍja as concluding noteHaving madhyama as aṁśa and şadja as the concluding note, tānavalitikā

14.[structural]dohyā is a pentatonic form lacking pañcama and ṛṣabha, with gāndhāra as aṁśa and ṣaḍja as concluding notethe auspicious dohyā is comprised of five svaras, being devoid of pañcama and ṛṣabha

← II p100 index II p102 →