bāhyaṣāḍavā technical_term

TRANSLATION ¹⁹⁵ ......Mālavī [iii] .....Gūrjarī [iv] Having madhyama as aniśa, dhaivata as the concluding note, being hexatonic, devoid of ṛṣabha, that which is sung on the occasion of yajña¹⁹ is said to be bāhyaṣāḍavā. (24) Illustration - Mādhā. Mānini pāmāpādhādhā. Mādhāmāgā gāgāgāmāmamanidhā. Māpāpāni. Dhādhādhā. Bāhyaṣāḍavā [v] Having niṣāda as amsa (and ) dhaivata as the concluding note, being hexatonic, omitting rşabha, kausalī is born of a region²⁰ (and) is sung in (the context of ) the door-keepers. 21 (25) Illustration-Ninidhā. Pāmāmā. Māgamā. Sāsāsāsāsā. Māgamānidhādhā. Kausalī [vi] Having gāndhāra as aṁśa, madhyama as the concluding note, gāndhārī is based on madhyama (grāma?)²²; it is sung by those living in solitude (and) is a mūlabhāṣā coming under (bhinna) ṣaḍja (rāga). (26) Illustration - Gāmāpānīsāsā. Nidhādhāmā māmāgāmādhā. Nisārī. Sāpāmāmā. Dhānīsārī. Gārīsānī. Dhāmāmā. Gāndhārī [vii] Combined with dhaivata as the initial and concluding note, devoid of ṛṣabha, hexatonic, this svaravallitikā is sung by those having a steady mind.23 (27) Illustration - Dhādhāmāpā.Gāgāmādhā nisānidhādhā pāpāgāmā · dhāsanidhānisāsāgāmā pāpādhādhā. Madhāpāmāmā gadhagāmadhānisāsā. Nisānigāgā māsānīdhā dhāpamāmāgādhā. Sāmādhānī sasādhāpāmādhādhā. Svaravallitā [viii] Having dhaivata as the initial and concluding note, lalitā is devoid of pañcama-ṛṣabha, should be sung as pentatonic (and) is held to be excellent in due order (?).²⁴ (28)

TRANSLATION ¹⁹⁵ ......Mālavī [iii] .....Gūrjarī [iv] Having madhyama as aniśa, dhaivata as the concluding note, being hexatonic, devoid of ṛṣabha, that which is sung on the occasion of yajña¹⁹ is said to be bāhyaṣāḍavā. (24) Illustration - Mādhā. Mānini pāmāpādhādhā. Mādhāmāgā gāgāgāmāmamanidhā. Māpāpāni. Dhādhādhā. Bāhyaṣāḍavā [v] Having niṣāda as amsa (and ) dhaivata as the concluding note, being hexatonic, omitting rşabha, kausalī is born of a region²⁰ (and) is sung in (the context of ) the door-keepers. 21 (25) Illustration-Ninidhā. Pāmāmā. Māgamā. Sāsāsāsāsā. Māgamānidhādhā. Kausalī [vi] Having gāndhāra as aṁśa, madhyama as the concluding note, gāndhārī is based on madhyama (grāma?)²²; it is sung by those living in solitude (and) is a mūlabhāṣā coming under (bhinna) ṣaḍja (rāga). (26) Illustration - Gāmāpānīsāsā. Nidhādhāmā māmāgāmādhā. Nisārī. Sāpāmāmā. Dhānīsārī. Gārīsānī. Dhāmāmā. Gāndhārī [vii] Combined with dhaivata as the initial and concluding note, devoid of ṛṣabha, hexatonic, this svaravallitikā is sung by those having a steady mind.23 (27) Illustration - Dhādhāmāpā.Gāgāmādhā nisānidhādhā pāpāgāmā · dhāsanidhānisāsāgāmā pāpādhādhā. Madhāpāmāmā gadhagāmadhānisāsā. Nisānigāgā māsānīdhā dhāpamāmāgādhā. Sāmādhānī sasādhāpāmādhādhā. Svaravallitā [viii] Having dhaivata as the initial and concluding note, lalitā is devoid of pañcama-ṛṣabha, should be sung as pentatonic (and) is held to be excellent in due order (?).²⁴ (28)