tānavalitikā technical_term

TRANSLATION ¹⁸⁵ [1. Now in takka] One should use the bhāṣā having pañcama as aṁśa and ṣaḍja as the concluding note, in takka. Devālavardhanī is a complete bhāṣā in the order of these (bhāṣās). (1) Illustration - Pāpānīsāsā. Nīsārīrīdhāpāpāmāmā māmādhāsā sāsanisaririri - rīnidhāmāgāpā dhāsāsānīdhānīdhā [sāsā]. Devālavardhanī [i] Having 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. (2) Illustration-Māmāmāgārīrīrīsārimārigāgārigurigasāsānidhāmādhāmāmādhā dhanisanigagagaganidhanisa samanigamapadhani nidhapadhani dhapamamama māmāgāmā gāriri gāsānisā. Paurālī [ii] Trāvaṇī, the bhāṣā of ṭakka, has dhaivata as aṁśa and ṣaḍja as the concluding note, is pentatonic, being devoid of pañcama-ṛṣabha and is (used) in the context of amorous women. (3) Illustration-Dhāmagādhā māgamāmāga dhānisāsā. Gāgāmadhāmāgasāsā. Māgā sāgā. Gāmāmādhāmāgasāsāsā. Trāvaņī [iii] Having madhyama as aṁśa and şadja as the concluding note, tānavalitikā is also sung as a vibhāṣā¹ of ṭakkarāga, based on madhyamagrāma² as an alternative (of bhāṣā). (4) Illustration - Māpādhāpāmāsā padhānīdhāpāpāmāmāgarisā dhāmādhādhā mādhādhāmādhānīsāsā. Riridhāririmāgāmārīsāsā. Sādhādhanisāsā. Tānavalitikā[iv] Having gāndhāra as aṁśa, ṣaḍja as the concluding note, the auspicious dohyā is comprised of five svaras, being devoid of pañcama and ṛṣabha, bears a regional name³ (and) is born of takkarāga. (5)