Ardhavesarī technical_term

⁴ - ¹ ¹⁴⁹ TRANSLATION [ Vibhāṣā of ṭakkarāga] Having pañcama as amsa and sadja as the concluding note, being embellished with madhyama, potā is a vibhāṣā born of ṭakkarāga and is sung at the end of the bhāṣās. (61) Illustration - Pāpānīsāsānīsārīmā dhārīdhāpāpāmāgāgā. Sāgāsāgāgādharigarigarimā. Mamamaga. Garisānīdhādhā sāgāgā. Gā rī gā rī. Sāsāgāmā nīdhādhāpāmārīsāsā gānīdhānī sāsāpāsā. Potā. [2. Bhāṣās in mālavakaiśika] Paurālī is born of deśa^{24}, i.e., is a regional variety, is combined with şadja as the initial and concluding note, is complete in svaras (and) has profuse șadja and madhyama. This bhāṣā should be known as the first one in mālavakaišika (used as mālakaišika in the text due to exigency of metre) of madhyama (grāma). (62) Illustration - Samā. Gāgāgāgāpāpā. Māmāgāgā. Sāmāmāmāmā. Māmā. Māmārīrī. Rigāgārīsāsāsārī. Magasāsāmāgārīsānī. Sāsā. Paurālī. Šuddhāhas madhyama as aṁśa, ṣaḍja as the concluding note, is a vibhāṣā, complete in svaras, is associated with 'merriment' and is sung in mālavakaišika. (63) Illustration - Māmādhāsāgārīsāsā. Nidhāsāsādhānimāmādhānīsā. Rigāmāsā. Sādhāmāgārigāsāsā. Śuddhā [i] Ardhavesarī has madhyama as aṁśa and ṣaḍja as the concluding note, is complete, weak in niṣāda and has profuse ṣaḍja and madhyama. This bhāṣā should always be known as sankīrņā (mixed), by the knowledgeable ones in gändharva. (64) Pāpāmāmā. Illustration - Māmāgāmāsāsā. Sāmāpāpādhāsādhā. Gamagamāga. Sāsāsāsā. Gāmāpapādhapādhamapāmā. Gamagamagarīsā