मूलभाषा technical_term

TRANSLATION ¹³⁹ Illustration - Māsāsāsā sānidhāni dhānī dhāgāsāsā. Dhānisāmā gāgāgāmā sānidhāsāsāsāsāgāmādhānīdhādhāmārīgārīrīmarigāsāsānidhāsāsā. Nidhagāsās- ānidhanimāmānidhāsāsā nidhāsagamāgāsā nīdhanīsā. Travaņā [i] That which has sadja as its concluding note, madhyama as its amsa, is always abundant in gāndhāra, is devoid of pañcama; dhaivata and ṛṣabha are profuse, (and) is always sankīrņā (mixed), this travaņodbhavā is hexatonic. (40) Illustration - Mānīnīnīsāsā. Sārīrīrīgāgāgamāmā māmārī. Garininidhā. Dhādhā-māmagārigā. Sāmāgarī. Saninigāgā ninidhāsarigārīmā, Gāmāmānī nīsasā. Travaņodbhavā [ii] Verañjikā should be known to have gandhāra as its aṁśa and weak pañcama. It should be performed with ṣaḍja as its nyāsa, bringing about the mutual movement of şadja-dhaivata and similarly gāndhāra-ṛṣabha. Thus should be known (this) bhāṣā; it is said to be hexatonic. (41-42) Illustration-Gānigāgā dharimāmāgā māmāgārigāsasāsā nigārīninidhādhādha- nigārīmāgārisanīdhāni. Sāsāgamāmādhāsāsaganigānigāniga dharīgarīrigārirīga ma-mamadhamamamadharīgasāsāsā sanīgārīgā ninidhāmādhānidhāsanigā rīmamarisā- nidhānisāsā. Verañjika [iii] Combined with sadja as the initial and concluding one (graha-nyāsa), complete, brilliant 15 with madhyama, there being the mutual concert (samvāda¹⁶) between sadja-madhyama and the (two) svaras comprised of two śrutis each (gāndhāra and niṣāda), chevāṭī should be known by the knowledgeable ones in music as mūlabhāṣā. (43)