chāyā technical_term

TRANSLATION ¹⁵⁷ Madhukarī has pañcama as aṁśa, is replete with the same, has dha (dhaivata) as the concluding note, there is the mutual concert of gandhara and pañcama, (and) commingling of dhaivata and niṣāda is seen. This bhāṣā, born of kakubha, is complete and sankīrņā (mixed). (76-77) Illustration-[Pāpā] ninininipadhapā dhanisāsanisani. Sapadhānidhādhapā dharisāsāgarimagarisasama. Garisānininidhapāpāsāgā. Pāpāmādhā. Mādhādhāmā. Nīsāsādhādhā. Madhukarī [v] Šakamišritā is a bhāṣā having niṣāda as aṁśa, ṣaḍja as the concluding note, combined with niṣāda as graha, should be known to be devoid of ṛṣabha and the concert of niṣāda and pañcama with dhaivata is there. The shade or reflection (chāyā)31 (?) mixed with śaka is there. (78-79) Illustration - Nīsānigadhamāgāririnininisā dhādhānidhāgamāmāmapāsā sanisāsādhādhāmanīdhādhāmānī dhāpāmādhānīsāsāsā nīsāsārigārisānīsānī sā- nidhādhāmāsānīmāgārīri [sā]. Šakamiśritā [vi] Bhinnapañcamī should be known to have dhaivata as the concluding note and madhyama as aṁśa, miṣāda is kākalī mixed profusely with dhaivata, where there is seen the concert of kākalī and dhaivata and where one should put up communion between pañcama and ṛṣabha. This is complete and sādhāraṇakṛtā, i.e., involves the use of antara and kākalī and kākalī is frequent. 32 (80-81) Illustration - Dhanidhādhānidhāpāpāmaripāpāpapamādhādhāpāsāsa nisāsa niririsārī. Dhādhā. Parimāpāpā. Pamadhādhāmānī dhāpāpāparī dhāpāpāpā dhādhāsa nidhā. Bhinnapañcamī [vii] These seven bhāṣās of kakubha have been indicated. (82)