Sādhāraņa svaras are gāndhāra and niṣāda
"sādhāraņa svaras are gāndhāra and niṣāda."
<sup>73</sup>
TRANSLATION
Trailokyamohana, vīra, kandarpabalašātana, šankhacūda, gajacchāya, raudra and
(114)
vișnuvikrama.
Thus end the names of audava tanas devoid of dhaivata and rabha in madhyama-
grāma.
Bhairava, kāmada and avabhṛtha, aṣṭakapālaka, sviṣṭakṛt, vaṣaṭkāra and the
(115)
seventh is known as mokşada.
[ Thus end the names of auduvita tanas devoid of ni and ga in madhyama-
grāma.]
Thus end the fourteen names of auduvita tānas in madhyamagrāma.
[Thus end the thirty-five names of auduvita tanas seated in the two gramas.]
(Anu. <sup>46</sup>)
The auduvita (tānas) of both the grāmas are thirty-five. The sādava and
auduva (tānas) of both the grāmas taken together are eithty-four tānas.
(Anu. <sup>47</sup>)
Now in order to explain sādhāraņakṛtā mūrchanās he (the author) has said -
sādhāraņa svaras are gāndhāra and niṣāda. Sādhāraņā mūrchanās are those that
begin with them40 (gāndhāra and niṣāda in their sādhāraņa states as antara and
kākalī) and they are included in the same (mūrchanās of gāndhāra and niṣāda).
How? The sādhāraṇatā (commonness) of mūrchanās with tānas is implied in or
already expressed through 'sādhāraṇa' (the term forming part of the name of
the fourth type of murchanā viz. sadharaņakṛtā).
(116)
And thus I have spoken of the fourfold mūrchanās.
[The performance of tanas]
(Anu. <sup>48</sup>)
How should the performance of these tanas be made, if this be asked, it is
being answered. The performance 41 of tana is twofold viz. with pravesa (lit.
entering) and nigraha (lit. restraint).
Pravesa is the viprakarşa (augmentation) of şadja that is lower and has to be
omitted i.e. it (şadja) is made to attain (the position of) rşabha. Thus is the
pravesa through viprakarşa. With mārdava (lit. softening) it is thus: the same