madhyama svara_name

³⁰¹ VIMARŚA 52. The word 'yatah' in this verse seems to imply that because the svaras have to match the angahāras performed in the order of āsārita, the formation or variation of amsas should be done in the text of the vardhamāna. Āsārita and vardhamāna have identical temporal dimensions with slight variation in splitting (shown below). These are the two gītakas alongwith which the performance of dance is prescribed in NS XXXI - ¹⁶ + ¹⁷ + ³² = ⁶⁵ \text{ Kalās} Asārita ⁹ + ⁸ + ¹⁶ + ³² = ⁶⁵ \text{ Kalās} Vardhamāna 53. 'Not exceptional' means those svaras, the operation of which in the formation of pentatonic varieties is not hindered by the rule of samvāda. 54. The strict prohibition of the omission of madhyama seems to be based on the fact that this svara is the link between gandharva and sāman, it being the tonic in sāman and the connecting point between the two triads of the heptad. 55,56.The words utsarga and apavada are borrowed from Pūrvamimāmsā. The former stands for the general rule and the latter for the exception to the same. 57. The import is not clear from here to the end of the Anu. 58. 'Sangati' stands for to and fro movement between two svaras in a jāti. NŚ uses 'paraspara-sañcāra' (mutual to and fro movement) and 'paras- paragamana '(mutual movement i.e. each of the two given svaras reaching out to the other) for this melodic phenomenon (cf.NŚ XXVIII. 96, 107). The word sangati is used even to-day in the oral tradition in the same meaning. It is notable that this relationship between any two svaras is purely melodic phenomenon; it does not depend on the acoustic relationship of samvāda. It is interesting to note that the word samvada has been used in our text in the place of sangati several times in the section on ragas. 59. Omission, in ancient thought, is not something absolute, rather it is the extreme state of sparseness. The svara that is omissible in a jāti is sparse in its complete state. 60. NŚ does not mention the mūrchanās of jātis. Matanga does this the first time. This innovation seems to be necessitated by the for introduction of fretted viņās (see Glossary). 61. Pañcapāṇi is another name of the tāla called ṣaṭpitāputraka, the third name being uttara.