şādava svara_combination

¹⁴ ¹⁷ TRANSLATION The extent(gati)²⁵ of tāra should be known up to the fourth, fifth or seventh svara from the aṁśa, it is not desirable beyond that." (NŚ XXVIII.70) [4. The definition of mandra] [Anu. ¹²⁵] Now mandra is being said - mṛdu²⁶ (lit. soft, here low) svara is mandra. And the extent (gati) of mandra is threefold, viz. amśaparā (followed by aṁśa), nyāsaparā (followed by nyāsa) and apanyāsaparā (followed by apanyāsa). The compound²⁷ bahuvrihi operates here (and the meaning is that which is followed by aṁśa svara i.e. that which precedes the aṁśa). The svara that comes before that (aṁśa), is mandra. As in dhaivatī²⁸ - dha - dha - ni - dha - ma-pa-dha-mā. Mā-mā-mā. Thus the apanyāsa²⁹ svara is (operative) here. Similar is the case with nyāsa 30 svara. [5. The definition of sadava] [Anu. ¹²⁶] Now şādava is being said - (a structure of) six svaras is şādava. Since it is related to (or operates in) fourteenfold jatis, four jatis are always complete and hence, on account of their absence, it (sādava)31 has forty-seven varieties and similarly has said Bharata -

⁵⁹ TRANSLATION [ Anu . ³⁹ ] Thus have been spoken of the fourteen complete murchanas of both the grāmas. Now their names are being mentioned. In (i.e. beginning with) şadja is uttaramandrā, in niṣāda is known rajanī, 27 in dhaivata is known uttarā (uttarāyatā) and śudhaşadjā is in pañcama. (93) Matsari (matsarikṛtā) should be known in madhyama and aśvakrāntikā in gāndhāra and with ṛṣabha should be known abhirudgatā,28 the seventh one. (94) Thus are to be known the seven mūrchanās subsisting in şadja-grāma. (95) Hereafter I shall speak of the murchanas of madhyama-grama. Sauvīrī is with madhyama and hariņāśvikā (hariņāśvā) is in gāndhāra and (96) kalopanatā would be the mūrchanā with ṛṣabha itself. Suddhamadhyā, on the other hand, could be in şadja and in niṣāda itself (is) mārgitā (mārgi). Pauravī is to be known in dhaivata and hṛṣyakā in pañcama. ł (97) Thus the mürchanās of madhyamagrāma have been spoken of by me. Now I shall speak of the şāḍavā (hexatonic) and auḍavā (pentatonic) mūchanas. (98) Şāḍava is to be known as having six svaras and auḍavā is to be known with five svaras; and the etymology of sadavas and auduvitas is being spoken of. (99) (Anu. ⁴⁰) Those six svaras that protect (the performance) are (known as) sadava svaras; their use (in performance) is (called) sādava. Falling under the tāraka gaṇa,29 it (ṣāḍava) is (combined with) itac pratyaya 30 (suffix) (and thus ‘ṣāḍavitā’ is formed). (Anu. ⁴¹) The ākāśa (space) in which the udus 31 (stars) move, that ākāśa is (known) as auduva. By that (the word auduva) the number five is indicated. (\bar{A}k\bar{a}\dot{s}a) is the fifth mahābhūta; auduvita is that in which the number (five) of that (ākāśa) exists. Ṣāḍava is that which has six svaras, its lakṣaṇa (description) is sevenfold and it is to be known as being numbered forty-nine,52 by the knowledgeable ones in (100) gīta (lit. song i.e. music).

⁵⁹ TRANSLATION [ Anu . ³⁹ ] Thus have been spoken of the fourteen complete murchanas of both the grāmas. Now their names are being mentioned. In (i.e. beginning with) şadja is uttaramandrā, in niṣāda is known rajanī, 27 in dhaivata is known uttarā (uttarāyatā) and śudhaşadjā is in pañcama. (93) Matsari (matsarikṛtā) should be known in madhyama and aśvakrāntikā in gāndhāra and with ṛṣabha should be known abhirudgatā,28 the seventh one. (94) Thus are to be known the seven mūrchanās subsisting in şadja-grāma. (95) Hereafter I shall speak of the murchanas of madhyama-grama. Sauvīrī is with madhyama and hariņāśvikā (hariņāśvā) is in gāndhāra and (96) kalopanatā would be the mūrchanā with ṛṣabha itself. Suddhamadhyā, on the other hand, could be in şadja and in niṣāda itself (is) mārgitā (mārgi). Pauravī is to be known in dhaivata and hṛṣyakā in pañcama. ł (97) Thus the mürchanās of madhyamagrāma have been spoken of by me. Now I shall speak of the şāḍavā (hexatonic) and auḍavā (pentatonic) mūchanas. (98) Şāḍava is to be known as having six svaras and auḍavā is to be known with five svaras; and the etymology of sadavas and auduvitas is being spoken of. (99) (Anu. ⁴⁰) Those six svaras that protect (the performance) are (known as) sadava svaras; their use (in performance) is (called) sādava. Falling under the tāraka gaṇa,29 it (ṣāḍava) is (combined with) itac pratyaya 30 (suffix) (and thus ‘ṣāḍavitā’ is formed). (Anu. ⁴¹) The ākāśa (space) in which the udus 31 (stars) move, that ākāśa is (known) as auduva. By that (the word auduva) the number five is indicated. (\bar{A}k\bar{a}\dot{s}a) is the fifth mahābhūta; auduvita is that in which the number (five) of that (ākāśa) exists. Ṣāḍava is that which has six svaras, its lakṣaṇa (description) is sevenfold and it is to be known as being numbered forty-nine,52 by the knowledgeable ones in (100) gīta (lit. song i.e. music).