antara-bhāṣā technical_term

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)