saindhavī technical_term

¹⁴³ TRANSLATION This saindhavī has madhyama as its aṁśa, ṣaḍja as its concluding note, is Gamāgāmāsādhāsārīmāmāmāsā Gārimāmāmā. Dhānisā. rigāmāpāpādhānipadhāpāmā gārīrīnirini dhādhādhanīsārīgāmāmāgāmāmā gāmāmāmāsāsā. Saindhavī [viii] brilliant with dhaivata, complete in svaras, the (mutual) movement 18 of şadja-dhaivata and gāndhāra-madhyama is seen to be dense. It is a regional bhāṣā bearing the name désī; saindhavī is,born of ṭakkarāga. (47-48) Illustration - Māmāsīsā. Sanīnīnīnīdhādhāsurisā nīdhādhādharinidhādhā. Combined with sadja as the initial and concluding note, being devoid of pañcama, this bhāṣā vesarikā, should be known to be hexatonic by the performers. The mutual movement of dhaivata-niṣāda and ṣaḍja-dhaivata is seen from moment to moment. (49-50) Illustration-Sāsā. Sadhāni. Dhāsāsāsā māmāgāmā gāmāsādhā māgārīsāsāsā. Vesarikā [ix] Having pañcama as amsa and şadja as the concluding note, being complete and delightful to the people, this bhāṣā is said to be pañcamākhyā. There is concert 19 between pañcama-ṛṣabha and similarly between ṣaḍja- madhyama (51) Mustration - Pāpāpāripā. Ripāpāpāpamāpāpāmapamā sāsāsarīrīri Nidhādhapāpā. Pasāmāmārirīgagarisapā pagārisāgārisāripāpāririgari. Gādhāmāgāriri dhaparigasāsā. Pañcamākhyā [x] Having middle and lower registers (as its range), şadja as its concluding note, gāndhāra as aṁśa and the seventh (niṣāda) as sparse, the bhāṣā, ravicandrikā, should be known to be sankīrņā (mixed). It should be so

BŖHADDEŚĪ ¹⁶² ^७८माङ्गाली ^७९पञ्चमान्ता च धैवतांशा प्रकीर्तिता । षड्जधैवतसंवादो ८०मध्यमर्षभयोस्तथा ॥ ९२॥ सम्पूर्णा च मता नित्यं ज?्ञेया वै देशसम्भवा । सङ्क्षीर्णा एषा भाषा च गीतज्ञैरुक्ता पञ्चमसम्भवा ॥ ९३॥ उदाहरणम् -[धाधा]सासासाधासारिरि [मिरि]धासारिरिधासाधासाधासासारिमारिमामाम- ध म ध पा पा पा धा म पा प म सा सा सा नि ध सा रिरिमागरिसासारिमारिमाममधमपपापापामापापमसा- सानिधससारिरिगारिमारीसा। धासासाधमासासासासामपमामापापा। माङ्गाली।[३] पञ्चमांशा तदन्ता च सम्पूर्णा पञ्चमोज?्ज?्वला । सिन्धुदेशसमुद्भूता विभाषा सैन्धवी विदुः ॥ सैन्धवीषड्जसम्भूता षड्जपञ्चमसंवादो दृश्यते च मुहुर्मुहुः८९॥ ९४॥ उदाहरणम् -पापाधसारिगागागरिमारि। स सा नि धा धा स नि धा धा म स रि गा गा ग रि सा धा ध मा पा धा पा ध सा रि गा - रिपपारिगागारिरीसाधासाधापा मा पा पा धा पा धा पा मा मा मा पा धाधासारीरिसाधापा मा पा पा । सैन्धवी ।[४] गूर्जरी पञ्चमान्ता च गान्धारांशाऽल्पमध्यमा^८२। षड्जमध्यमसंवादा सम्पूर्णा नित्यमेव हि ॥ ८३विभाषेयं समाख्याता सम्पूर्णा पञ्चमोद्भवा ॥९५॥ उदाहरणम् - गरीमामामधानिधापापा धा धा नी धा मा मा मा धा गारीरीसरिगरिमाधामापा धपधनिधाधाधधप- रीरी सारिमागारिमामामाघा नीधरिपघानीधापापा नीधामामामधमधमगारिरीमामारीसा सागारीमामापाधा- नी स नी स नी धा म पा पा । गूर्जरी । [५] ८४पञ्चमाद्यन्तसंयुक्ता दाक्षिणात्या मनोरमा । ८५सम्पूर्ण[कथिता]होषा ज?ाता गान्धारप[ञ्च]मे ॥ ८६विभाषेयं सदा ज?्ञेया देशाख्या पश्चमोद्भवा ॥ ९६। उदाहरणम् -पापानीरी। निरिगारिगरिमामरिरिनिनिरि। धा पा पा प पा निरिरिगरिगरिमगरिरिरि।ध - नि ध ध नि धा ध नि धा पा पा नि रि रि गा रि गा धा मा गा रि रि सा निरिगामागारीनिधापापा।दाक्षिणात्या।[६]

¹⁶³ TRANSLATION Māngālī has pancama as its concluding note and is said to have dhaivata as aṁśa. There is concert between şadja-dhaivata and similarly madhyama- ṛṣabha; it is held to be always complete and should be known to be born of ^٠ deśa³⁷ (region). This bhāṣā is said to be born of pañcama (rāga) by the knowledgeable ones in music. (92-93) Illustration-[Dhādhā] Sāsīsīsadhāsīriridhāsīriri[mari] dhāsādhāsīsīrimāri mämämadhamadhapāpādhāmapāpamāsānidhasī ririmāgarisāsūrimārimamam adhamapapāpāpāmāpāpamasīsīnidhasīsīririgārimārisī dhāsīsadhamāsīsīsīsīma. Pamāmāpāpā. Mārigālī [iii] Having pañcama as amsa and the same as the concluding note, being complete and brilliant with pañcama, saindhavī has been known to be a vibhāṣā born in the Sindhu region. Concert38 between ṣaḍja and pañcama is seen again and again. (94) Illustration-Pāpādhasīrigāgāgarimāri. Sasānidhādhāsanidhādhāmasarigāgāgari sādhādhamāpādhāpādhasīsīrigāripapxīrigāgārirīsīdhāvsīdhāpxīmāpxīpxīdhāpxī māmāmāpā dhādhāsīrīrisīdhāpā māpāpā. Saindhavī [iv] Gūrjarī has gāndhāra as ani śa, pañcama as the concluding note and is with sparse madhyama. It has concert between sadja and madhyama, (and) is always complete. This vibhāṣā born of pañcama³⁹ (rāga) is said to be complete. (95) Illustration-Gขากฉับฉบับละสำนักเสียลีpāpādādhānidhānāmāmādhāgārīnīswigarim- ādhāmāpādhapadhanid hādhādhadhaparīrīsārimāgārimāmāmādhānīdharipa- dhānīdhāpā pānīdhāmāmadhamadhamagārirīmāmārīsāsāgārīmāmāpādhā- nismismidhāmapāpā. Gūrjari [v] Combined with pañcama as the initial and concluding note, dākṣiṇātyā is beautiful. This is complete and is said to be born in gandharapancama. 40 It should always be known as a vibhāṣā born of pañcama bearing a regional name.41 (96) Illustration - Pāpānīrī. Nirigārigarimāmaririniniri. Dhāpāpāpapā niririgari- garimagaririri. Dhanidhadhanidhādhanidhāpā pāniririgārigādhāmāgāvirisāniri gāmāgārīnidhāpāpā. Dākṣiṇātyā [vi]

¹⁷¹ TRANSLATION Combined with dhaivata as the initial and concluding note, complete, delightful to the people, having concert between dhaivata - niṣāda and ṣaḍja- gāndhāra, born of Bangāla deśa, bāngālī is of divine form. This bhāṣā is full of rasa and is also dear to the deity. 50 In performance, it is characterised by smoothness and continuity by the singers bedecked with svaras. (111-112) Illustration - Dhārīsārīgāgādhā rīsārīmānīsānīnīsā sāsāridhāmāpā dhādhārisāmādhānidhādhā. Bāṅgālī [vi] Having madhyama as aṁśa, dhaivata as the concluding note, being weak in pañcama and ṛṣabha, having concert between ṣaḍja-madhyama and ṣaḍja- gāndhāra, saindhavī has been known to be born of the Sindhu region and to bear a regional name. (113) Illustration - Mā.Mādhānīdhā nīsāgāsāmāsāsāgāmāgāmā gāsānisanidhā māpāmāmāmāsāmādhāmānisāsāsāsāgārī dhānidhādhāmādhānīdhā mādhādhādhā. Saindhavī [vii] Kālingī has gāndhāra as aṁśa, dhaivata as the concluding note and is comprised of four svaras, being devoid of pañcama and ṛṣabha and weak in niṣāda. This is an antarabhāṣā and is sung by the people of Kalinga⁵¹ It is beautiful and charming and is sung according to pañcama⁵² (rāga). (114-115) Illustration-Gāsāmāgāmāgāsāsāsāsādhāmāsāsādhāmānīmāmāsāsāsāsāmā dhāmāmādhāsāsādhānīgādhā. Kāliṅgī [viii] Having ṣadjaas the concluding note, dhaivataas aniśa, gāndhāra and pañcama being omitted, having concert between ṣaḍja-madhyama and similarly ṣaḍja- dhaivata, this antara-bhāṣā is sung by the Pulinda⁵³ people. It is well-known as pulindikā, is pentatonic and subsists in (bhinna) sadja.54 (116-117)

¹⁷¹ TRANSLATION Combined with dhaivata as the initial and concluding note, complete, delightful to the people, having concert between dhaivata - niṣāda and ṣaḍja- gāndhāra, born of Bangāla deśa, bāngālī is of divine form. This bhāṣā is full of rasa and is also dear to the deity. 50 In performance, it is characterised by smoothness and continuity by the singers bedecked with svaras. (111-112) Illustration - Dhārīsārīgāgādhā rīsārīmānīsānīnīsā sāsāridhāmāpā dhādhārisāmādhānidhādhā. Bāṅgālī [vi] Having madhyama as aṁśa, dhaivata as the concluding note, being weak in pañcama and ṛṣabha, having concert between ṣaḍja-madhyama and ṣaḍja- gāndhāra, saindhavī has been known to be born of the Sindhu region and to bear a regional name. (113) Illustration - Mā.Mādhānīdhā nīsāgāsāmāsāsāgāmāgāmā gāsānisanidhā māpāmāmāmāsāmādhāmānisāsāsāsāgārī dhānidhādhāmādhānīdhā mādhādhādhā. Saindhavī [vii] Kālingī has gāndhāra as aṁśa, dhaivata as the concluding note and is comprised of four svaras, being devoid of pañcama and ṛṣabha and weak in niṣāda. This is an antarabhāṣā and is sung by the people of Kalinga⁵¹ It is beautiful and charming and is sung according to pañcama⁵² (rāga). (114-115) Illustration-Gāsāmāgāmāgāsāsāsāsādhāmāsāsādhāmānīmāmāsāsāsāsāmā dhāmāmādhāsāsādhānīgādhā. Kāliṅgī [viii] Having ṣadjaas the concluding note, dhaivataas aniśa, gāndhāra and pañcama being omitted, having concert between ṣaḍja-madhyama and similarly ṣaḍja- dhaivata, this antara-bhāṣā is sung by the Pulinda⁵³ people. It is well-known as pulindikā, is pentatonic and subsists in (bhinna) sadja.54 (116-117)

¹⁷¹ TRANSLATION Combined with dhaivata as the initial and concluding note, complete, delightful to the people, having concert between dhaivata - niṣāda and ṣaḍja- gāndhāra, born of Bangāla deśa, bāngālī is of divine form. This bhāṣā is full of rasa and is also dear to the deity. 50 In performance, it is characterised by smoothness and continuity by the singers bedecked with svaras. (111-112) Illustration - Dhārīsārīgāgādhā rīsārīmānīsānīnīsā sāsāridhāmāpā dhādhārisāmādhānidhādhā. Bāṅgālī [vi] Having madhyama as aṁśa, dhaivata as the concluding note, being weak in pañcama and ṛṣabha, having concert between ṣaḍja-madhyama and ṣaḍja- gāndhāra, saindhavī has been known to be born of the Sindhu region and to bear a regional name. (113) Illustration - Mā.Mādhānīdhā nīsāgāsāmāsāsāgāmāgāmā gāsānisanidhā māpāmāmāmāsāmādhāmānisāsāsāsāgārī dhānidhādhāmādhānīdhā mādhādhādhā. Saindhavī [vii] Kālingī has gāndhāra as aṁśa, dhaivata as the concluding note and is comprised of four svaras, being devoid of pañcama and ṛṣabha and weak in niṣāda. This is an antarabhāṣā and is sung by the people of Kalinga⁵¹ It is beautiful and charming and is sung according to pañcama⁵² (rāga). (114-115) Illustration-Gāsāmāgāmāgāsāsāsāsādhāmāsāsādhāmānīmāmāsāsāsāsāmā dhāmāmādhāsāsādhānīgādhā. Kāliṅgī [viii] Having ṣadjaas the concluding note, dhaivataas aniśa, gāndhāra and pañcama being omitted, having concert between ṣaḍja-madhyama and similarly ṣaḍja- dhaivata, this antara-bhāṣā is sung by the Pulinda⁵³ people. It is well-known as pulindikā, is pentatonic and subsists in (bhinna) sadja.54 (116-117)