deśa technical_term

¹⁵³ TRANSLATION Being combined with sadja as the initial and concluding note, being complete and born of deśa (region), having concert between ṛṣabha and șadja, the svaras comprised of two śrutis each being of sparse nature, this ābhīrī²⁶ is sung by the people as sādhāraņakṛtā, i.e., it uses antara and kākalī. (68) Illustration - Sāsārīrī, Sāsārīrī, Sāsārīsārī, Sāsānīsārīrī, Sārīsārīsāsānīsarīrīgārīgārī. Sanisāsā. Gārīrī. Gāmāgarī. Gapāpagārī. Sanisāsā. Sanīsāsā dhārīgagamāsā. Pamāgārī. Sanīsāsā. Dhanīdhānī. Sādhanisā. Ririgāmā. Gāmāriri. Gāpāmāpā, Māgārīrī. Sāsārisārī. Sāsānīsārī. Rīrīsāsā sānirīrigāri. Rigāriri. Sani. Sāsāgārīri. Gāmagārī. Sāni. Gārīrī. Māgāgārī. Gāpāgārī. Sanīsāsāsanī. Sāsā. Rigagamāsā. Pamāgārī. Sanisasā. Sadhanisāsā. Sanidhānidhādhanisārīrī. Gāmāgamārirī. Gāpāmāpā. Mapamā. Magārirī. Mapāgāri. Sanisāsā. Ābhīrī [vi] Khañjanî has pañcama as aṁśa, ṣaḍja as the concluding note, is devoid of dhaivata, there is concert between ṣaḍja and niṣāda and similarly between madhyama-ṛṣabha. It should be known as hexatonic and saṅkīrṇā (mixed), giving delight to all people. (69) Illustration - Pānīmarīsari. Sāsāsarīri. Sani. Rirī. Sanisani. Ri. Pāpāpāni. Sarisani. Sagasasā. Sanirīsanīrīrī. Māgārigamā. Nīpāpānīsanīpāpāmaga. Pāpā. Ni. Nimanisarisagasāsā. Khanjanī [vii] Having niṣāda as aṁśa, ṣaḍja as the concluding note, gurjarī is born of deśa (region). There is the combination²⁷ of niṣāda-ṛṣabha and similarly of madhyama-ṛṣabha. This bhāṣā should be known by the knowledgeable ones in music as being complete. (70) Illustration - Nidhānīnī. Rigānidhā. Nisāsādhāni. Dhāga. Ri. Sāgarī. Sānīdhānī. Gadhāsārī. Gārīmāgārī. Sanidhādhānidhāsarigārī. Sanīsāsā. Nidhāsānīgarī. Magari. Magari. Pāpāgārī.aāmā. Ridhānidhānidhāsari. Garisānīsāsānīdhāsarīri. Nidhā sāsā. Dhanīsāgā. Gārīri. Magarīmagari. Māpāgari. Magarisanī. Dhādhānidhāsarigari. Sanisāsā. Gurjarī [viii]

BRHADDEŚĪ ¹⁶⁰ यापापाधापासासापाधापमगामामा उदाहरणम् - सा पा पा धा मा मा पा गा म गा प धा धा पा ग मा गा म सा सा सा गा गा मा गा मा मा । षड्ज?[मध्यमा]।[४] मध्यमांशा तु षड्ज?ान्ता ^७२दुर्बला पञ्चमेन तु । ७३धैवतनिषादबाहुल्यं षड्जधैवतयोस्तथा ॥ भाषेयं षाडवा ज?्ञेया प्रेङ्खके मधुरी भवेत् ॥ ८८॥ प्रेक्षके मधुकरी मापानिसासारिरोगमगारीसासा उदाहरणम् – मा पा पा धा धा मा ध नि नि पा स नि ध सा सा मा पा ध नि स नि सा सा नि धा पा पा पा ध नि धा सासा रिरोममागरिसासा। मधुरी। [५] मधु(क)री ॥ इति हिन्दोलके भाषा[:] समाप्ता[:] ॥ [५.अथ पञ्चमे] ७४ पञ्चमांशा तदन्ता च निषादबहुला सदा। परस्परं तु दृश्येत अषड्जधैवतसङ्गति ॥ ८९॥ ^७६पूर्णा पञ्चमजा ह्येषा त्वाभीरी देशसम्भवा । आभौरी पूर्ण एषा भाषा तु विज?्ञेया प्रथमा पञ्चमोद्भवा ॥ ९०॥ उदाहरणम् -पाधामाधनिधापापापा प ध नि धा मा मा धा नि सा सा स नि ध नि स धा नि सा नि धा सा धरि- मा मा धा नि नि धा पा पा प म म ध नि सा सा सनिनिसासासिनगरिमममागा रिसससधिनपा धा मा मा स - रि मा धा रि म पा पा । आभीरी। [१] भाविनी पञ्चमन्यासा गान्धारांशाल्पधैवता । मध्यपञ्चमयोर्यत्र गमनं दृश्यते घनम् ॥ मध्यम् भाषा तु भाविनी ज?्ञेया पूर्णा गान्धर्ववेदिभि ७०॥ ९१॥ उदाहरणम् -गामापागमपानिधा[पा]। गमपामागागारीरीगानीधापापापाप। मा मा गा मा पा पा मापापामाधारीसगगमापा मागारीरीपापा । भाविनी ।[२]

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)