uttara technical_term

⁵⁵ TRANSLATION [8. Gändhārī] Out of them, gāndhāra, ṣaḍja, madhyama, pañcama and niṣāda are grahas, the same are amsas of gandhari. The tara extends upto five svaras. The mandra , extends upto the nyāsa or upto the svara next to it. The sādava state is devoid of ṛṣabha, the auduvita state is devoid of ṛṣabha, dhaivata. In the complete state there is sparseness of ṛṣabha-dhaivata, and abundance of the remaining ones. On account of being a svara-jāti⁷²i.e. a jāti bearing the name of svara, gāndhāra is the nyāsa. Ṣaḍja, pañcama are the two apanyāsas and there is sangati (concert or to and fro movement) between dhaivata and ṛṣabha. That is thus – when g\bar{a}ndh\bar{a}r\bar{i} is sung as complete then m\bar{a} - dh\bar{a} - ri - g\bar{a}^{73} is the prayoga (performance). Thus is the performance. When it is sung with the omission of ṛṣabha then while touching (lit. entering) the adhara 74 (lit. lower, but higher in pitch) mā-dhā-dhā-gā, thus is the performance. When it is sung in its pentatonic form then while touching the uttara 75 (lower svara) mā-gā dhā-thus is the performance. Mā-pa-ri-dhā is never to be performed. [Anu. ¹⁶¹] This is eleven-fold. There are eleven ainsas - there is one in the suddhā state, five in the vikṛtā complete state, four are hexatonic (and) one is pentatonic. The mūrchanā beginning with dhaivata obtains here. Caccatpuța is the tālain the ekakalaform. In citra mārga, there is māgadhī (gīti), in dvikala vārtika (mārga) there is sambhāvitā (gīti), in catuşkala dakṣiṇa (mārga), there is pṛthulā (gīti), karuṇa (pathos) is the rasa. It is used in the singing of dhruvā in the third act of a drama. [9. Raktagāndhāri] [Anu. ¹⁶²] Ṣaḍja, madhyama, pañcama, gândhāra and niṣāda are the grahasand aṁśas of raktagāndhārī. Tāra extends up to five svaras (from the aṁśa), mandra extends up to the nyāsa or the svara next to it. The hexatonic form is devoid of ṛṣabha and the pentatonic one is devoid of ṛṣabha-dhaivata. There is the paucity of ṛṣabha and dhaivata in the complete form. The remaining (svaras) have abundance. On account of niṣāda being the aṁśa, its abundance is indicated. Its non-abundance comes about on account of the stated prescription. Dhaivata being non-aniśa, its sparseness is indicated, its