vol_I_p067 — Bṛhaddeśī

Bṛhaddeśī · Volume I

pp. 116–117folio 067

Devanāgarī

सरिरिस [स] रिगगरिस सरिगममगरिस सरिगमपपमगरिस सरिगमपध्धपमगरिससा सरिगमपधिननिधपमगरिस सरिगमपधिनस- सनिधपमग्रिस, प्रस्तारः¹ [ १५ ] सनिनिस सनिधधनिसरीसा सनिधपपधनिस सनिधपममपधनिससा

[सनिधपमगगमपधनिस]

सिन्धपमगरिरिगमपधिनस सिन्धपमगरिस [ स ] रिगमपधिनस, ृप्रसादः [ १६ ] सरि रिग गम मप पध धनि निस सनि निध धप पम मग गरि रिस, उद्वाहितः⁶ [ १७ ] सरिसरि रिगरिंग गमगम मपमप पधपध धनिधनि निसनिस सनिसनि निधनिध धपधप पमपम मगमग गरिगरि रिसरिस, उपलोलकः⁷ [ १८ ] ः सरिरिस सरिगगरिस सरिगममगरिस सरिगमपपमगरिस सरिगमपध्धपमगरिसुमाः सरिगमपधनिनिधपमगरिससध सरिगमपधनिस- सनिधपमगरिस, क्रमः [१९ ] सग रिम ग़प मध पनि धस, निष्कूजितः⁹ [ २० ] सधसध निपनिप धमधम पगपग मरिमरि गसगस, ह्रादमानः³ [ २१ ] सारी गरि। री गामग। गामापम। मापाधप। पा धा निध। धा नी सनि। रञ्जितः⁴ [ २२ ] सरिगमपधनिसा। सनिधपमगरिसा। आवर्तकः,⁵ [ २३ ]

सरिगपपमगस्—सा -पा। रिगमधधपमरिगा। गमपनिनिधपगःगामप। मपधससनिपमःसामाधा।

មា

[ सनिपममपधस ] निधपगगमपनि। धपमरिरिगमध।

티 पमगससरिगप, परिवर्तकः [ २४ ]

English — Sharma (translation)

saririsa sarigagarisa sarigamamagarisa sarigamapapa-magarisa sarigama- padhadhapamagarisa sarigamapadhaninidhapamagarisa sarigamapadhanisa 155

(15)

sanidhapamagarisa, prastāra saninisa 134 sanidhadhanisa sanidhapapadhanisa sanidhapamamapadhanisa san idha pama gariri gama padhan isa sanidhapa magaga mapadhanisa

(16)

sanidhapamagarisasarigamapadhanisa, prasāda² sari riga gama mapa padha dhani nisa 135 sani nidha dhapa pama maga gari

(17)

risa, udvāhitah sarisari rigariga gamagama mapamapa padhapadha dhanidhani nisanisa 196 sanisani nidhanidha dhapadhapa pamapama magamaga garigari risarisa,

(18)

upalolakah sarigamapadha- sarigagarisa sarigamamagarisa sarigamapapamagarisa saririsa dhapamagarisa sarigamapadhaninidhapamagarisa sarigamapadhanisa 137 - sanidhapa-

(19)

magarisa, kramah

(20)

saga rima gapa madha pani dhasa,188 nişkūjitaḥ⁹ sadhasadha 159 nipanipa dhamadhama pagapaga marimari gasagasa, hrādamanaḥ³

(21)

sarigari rigamaga gamapama mapadhapa padhanidha dhanisani, 140 rafijitah⁴

(22)

(23)

sarigamapadhanisa 141 sanidhapamagarisa, āvartakaḥ⁵ gamapaninidhapaga 142 rigamadhadhapamari sarigapapamagasa mapadhasasanipama nidhapagagamapani dhapamaririgamadha pamagasasarigapa,

(24)

parivartakah

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Sanskrit attestations (7)

1.[definition]Prastāra is a sequential arrangement technique demonstrated through the scale pattern saririsa sarigagarisa sarigamamagarisa sarigamappapamagarisa sarigamapadhadhapamagarisa sarigamapadhaninidhapamagarisa sarigamapadhanisa sanidhapamagarisaस रि रि स [स] रि ग ग रि स स रि ग म म ग रि स स रि ग म प प म ग रि स सरिगमपध्धपमगरिस सरिगमपधिननिधपमगरिस सरिगमपधिनस- सनिधपमग्रिस, प्रस्तारः

3.[definition] ⇄Hrādamanah is a technique characterized by alternating or reciprocal movement between non-adjacent degrees with specific intervallic patternsस ध स ध नि प नि प ध म ध म प ग प ग म रि म रि गसगस, ह्रादमानः

4.[definition] ⇄Rafijitah is a technique that groups or colors scale degrees in pairs or units, demonstrated through consecutive paired note sequencesसारी गरि। री गामग। गामापम। मापाधप। पा धा निध। धा नी सनि। रञ्ज?ितः

5.[definition] ⇄Āvartakah is a technique involving cyclic return or repetition, shown through bidirectional scale traversal (ascending and descending)सरिगमपधनिसा। सनिधपमगरिसा। आवर्तकः,

6.[definition] ⇄Udvāhita is a technique that elaborates successive scale degrees through doubled or repeated note pairsसरि रिग गम मप पध धनि निस सनि निध धप पम मग गरि रिस, उद्वाहितः

7.[definition] ⇄Upalolakah demonstrates a technique of oscillation or reciprocal movement between pairs of adjacent and non-adjacent scale degreesस रि स रि रिगरिंग ग म ग म म प म प प ध प ध ध नि ध नि नि स नि स स नि स नि नि ध नि ध ध प ध प प म प म म ग म ग ग रि ग रि रिसरिस, उपलोलकः

9.[definition] ⇄Nişkūjitah (or Niṣkūjitaḥ) is a technique employing non-contiguous or irregularly selected scale degrees in skipping patternsसग रिम ग़प मध पनि धस, निष्कूज?ितः

English attestations (10)

2.[definition]Prasāda is a technique that simplifies or clarifies the prastāra by removing intermediary notes, presented as a refined version of the full sequencesanidhapamagarisasarigamapadhanisa, prasāda

3.[definition]Hrādamanah is a technique characterized by alternating or reciprocal movement between non-adjacent degrees with specific intervallic patternssadhasadha nipanipa dhamadhama pagapaga marimari gasagasa, hrādamanaḥ

4.[definition]Rafijitah is a technique that groups or colors scale degrees in pairs or units, demonstrated through consecutive paired note sequencessarigari rigamaga gamapama mapadhapa padhanidha dhanisani, rafijitah

5.[definition]Āvartakah is a technique involving cyclic return or repetition, shown through bidirectional scale traversal (ascending and descending)sarigamapadhanisa sanidhapamagarisa, āvartakaḥ

6.[definition]Udvāhita is a technique that elaborates successive scale degrees through doubled or repeated note pairssari riga gama mapa padha dhani nisa sani nidha dhapa pama maga gari risa, udvāhitah

7.[definition]Upalolakah demonstrates a technique of oscillation or reciprocal movement between pairs of adjacent and non-adjacent scale degreessarisari rigariga gamagama mapamapa padhapadha dhanidhani nisanisa sanisani nidhanidha dhapadhapa pamapama magamaga garigari risarisa, upalolakah

8.[definition]Krama is a systematic progression technique that traverses the scale in ascending patterns, repeating segments with progressive note additionssarigagarisa sarigamamagarisa sarigamapapamagarisa sarigamapadhadhapamagarisa sarigamapadhaninidhapamagarisa sarigamapadhanisa sanidhapa- magarisa, kramah

9.[definition]Nişkūjitah (or Niṣkūjitaḥ) is a technique employing non-contiguous or irregularly selected scale degrees in skipping patternssaga rima gapa madha pani dhasa, nişkūjitaḥ

10.[definition]Parivartakah is a technique of transformation or permutation involving complex rearrangement and reversal of scale degree sequencesgamapaninidhapaga rigamadhadhapamari sarigapapamagasa mapadhasasanipama nidhapagagamapani dhapamaririgamadha pamagasasarigapa, parivartakah

11.[enumeration]These ten techniques represent a systematic taxonomy of melodic elaboration and manipulation methods within Indian classical music theoryprastāra prasāda udvāhitah upalolakah kramah nişkūjitaḥ hrādamanaḥ rafijitah āvartakaḥ parivartakah

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