Bhāṣāgīti technical_term

g., ⁸⁵ TRANSLATION with minute²⁶ kākus.²⁷ Thus sādhāraņī should be known to be the abode of all gitis. (²⁸⁴ - ²⁸⁵) [6. Bhāṣā gīti] This bhāṣā gīti is described by the experts in gīti as consisting of prayogas (melodic phrases?) that are rendered by the body (voice), are smooth, colourful with kākus, well composed, shaken, soft, brilliant, combined with mālavīkāku²⁸ attractive, and graceful. It is performed in the manner that delights the people. (²⁸⁶ - ²⁸⁷) [7. Vibhāṣā gīti] Vibhāṣā gīti should be composed with gamakas²⁹ that are attractive, numerous, brilliant, shaken, pertaining to the chest region, even, high and very high, smooth, in which madhyama shines forth in between, that are delightful to the ear and are attractive. This process of composition should be spontaneous and should take the course that delights the people. (288-289) [ Thus ends the description of gitis.] [ The number and nomenclature of ragas ] The lakṣaṇa (description) of gītis has been spoken of; now the number of rāgas is being stated. Five cokṣa (śuddha, pure rāgas) have been spoken of, the bhinna ones are of the same number. Gauda (rāgas) have been said to be three and rāgas (pertaining to rāga-gīti) have been said to be eight. Seven- sādhāraņa (rāgas) have been spoken of and here bhāṣās are sixteen. Vibhāṣās are only twelve and (now) know their names. (²⁹⁰ - ²⁹²)