ābhīrī technical_term

¹⁵³ TRANSLATION Being combined with sadja as the initial and concluding note, being complete and born of deśa (region), having concert between ṛṣabha and șadja, the svaras comprised of two śrutis each being of sparse nature, this ābhīrī²⁶ is sung by the people as sādhāraņakṛtā, i.e., it uses antara and kākalī. (68) Illustration - Sāsārīrī, Sāsārīrī, Sāsārīsārī, Sāsānīsārīrī, Sārīsārīsāsānīsarīrīgārīgārī. Sanisāsā. Gārīrī. Gāmāgarī. Gapāpagārī. Sanisāsā. Sanīsāsā dhārīgagamāsā. Pamāgārī. Sanīsāsā. Dhanīdhānī. Sādhanisā. Ririgāmā. Gāmāriri. Gāpāmāpā, Māgārīrī. Sāsārisārī. Sāsānīsārī. Rīrīsāsā sānirīrigāri. Rigāriri. Sani. Sāsāgārīri. Gāmagārī. Sāni. Gārīrī. Māgāgārī. Gāpāgārī. Sanīsāsāsanī. Sāsā. Rigagamāsā. Pamāgārī. Sanisasā. Sadhanisāsā. Sanidhānidhādhanisārīrī. Gāmāgamārirī. Gāpāmāpā. Mapamā. Magārirī. Mapāgāri. Sanisāsā. Ābhīrī [vi] Khañjanî has pañcama as aṁśa, ṣaḍja as the concluding note, is devoid of dhaivata, there is concert between ṣaḍja and niṣāda and similarly between madhyama-ṛṣabha. It should be known as hexatonic and saṅkīrṇā (mixed), giving delight to all people. (69) Illustration - Pānīmarīsari. Sāsāsarīri. Sani. Rirī. Sanisani. Ri. Pāpāpāni. Sarisani. Sagasasā. Sanirīsanīrīrī. Māgārigamā. Nīpāpānīsanīpāpāmaga. Pāpā. Ni. Nimanisarisagasāsā. Khanjanī [vii] Having niṣāda as aṁśa, ṣaḍja as the concluding note, gurjarī is born of deśa (region). There is the combination²⁷ of niṣāda-ṛṣabha and similarly of madhyama-ṛṣabha. This bhāṣā should be known by the knowledgeable ones in music as being complete. (70) Illustration - Nidhānīnī. Rigānidhā. Nisāsādhāni. Dhāga. Ri. Sāgarī. Sānīdhānī. Gadhāsārī. Gārīmāgārī. Sanidhādhānidhāsarigārī. Sanīsāsā. Nidhāsānīgarī. Magari. Magari. Pāpāgārī.aāmā. Ridhānidhānidhāsari. Garisānīsāsānīdhāsarīri. Nidhā sāsā. Dhanīsāgā. Gārīri. Magarīmagari. Māpāgari. Magarisanī. Dhādhānidhāsarigari. Sanisāsā. Gurjarī [viii]

TRANSLATION ¹⁶¹ Illustration-Sāpāpādhāmāmā pāgāmagāpadhādhāpāgamā gāpāpāpādhāpāsā sāpādhāpamagāmāmā gāmasāsāsāgāgāmāgāmāmā. Şadjamadhyamā [iv] Having madhyama as aṁśa, ṣaḍja as the concluding note, being weak in pañcama, with profusion of dhaivata - niṣāda and similarly of ṣaḍja-dhaivata, this bhāṣā, madhurī, should be known to be hexatonic in prenkhaka34 (a synonym of hindolaka). (88) Illustration - Māpāpādhādhādhāmādhaninipāsanidhasāsā māpādhanisa nisāsā māpānisāsārirīgamagārīsāsā nidhāpāpāpādhanidhāsāsā rirīgamāgari sāsā. Madhurī [v] Thus end the bhāṣās of hindolaka. [5. Now the bhāṣās in pañcama] Having pancama as amsa and the same as the concluding note, replete with niṣāda, being complete, this ābhīrī bhāṣā is born of deśa³⁵ (region), rises out of pañcama (rāga) and should be known to be the first one arising out of pañcama. Mutual concert between șadja-dhaivata is to be seen here. (89-90) Illustration - Pādhāmādhanidhāpāpāpā padhanidhāmāmādhānisāsā sanidhanisadhānisānidhāsā dharimāmādhāninidhāpāpā pamamadhanisāsā saninisāsāsanigarimamamāgarisasa sadhanipādhāmāmāsarimādhārimapāpā. Abhīrī [i] Bhāvinī has pañcama as nyāsa, gāndhāra as aṁśa (and) is weak in dhaivata. Where the mutual movement of madhyama-pañcama is seen to be dense, the bhāṣā bhāvinī should be known to be complete by the knowledgeable ones in gändharva.36 (91) Illustration-Gāmāpāgamapānidhā [pā]. Gamapāmāgāgārī rīgāmīdhāpāpāpāpā Māmāgāmāpāpā māpāpāmādhārisagagamāpā māgāriripāpā. Bhāvini [ii]

BRHADDEŚĪ ¹⁶⁰ यापापाधापासासापाधापमगामामा उदाहरणम् - सा पा पा धा मा मा पा गा म गा प धा धा पा ग मा गा म सा सा सा गा गा मा गा मा मा । षड्ज?[मध्यमा]।[४] मध्यमांशा तु षड्ज?ान्ता ^७२दुर्बला पञ्चमेन तु । ७३धैवतनिषादबाहुल्यं षड्जधैवतयोस्तथा ॥ भाषेयं षाडवा ज?्ञेया प्रेङ्खके मधुरी भवेत् ॥ ८८॥ प्रेक्षके मधुकरी मापानिसासारिरोगमगारीसासा उदाहरणम् – मा पा पा धा धा मा ध नि नि पा स नि ध सा सा मा पा ध नि स नि सा सा नि धा पा पा पा ध नि धा सासा रिरोममागरिसासा। मधुरी। [५] मधु(क)री ॥ इति हिन्दोलके भाषा[:] समाप्ता[:] ॥ [५.अथ पञ्चमे] ७४ पञ्चमांशा तदन्ता च निषादबहुला सदा। परस्परं तु दृश्येत अषड्जधैवतसङ्गति ॥ ८९॥ ^७६पूर्णा पञ्चमजा ह्येषा त्वाभीरी देशसम्भवा । आभौरी पूर्ण एषा भाषा तु विज?्ञेया प्रथमा पञ्चमोद्भवा ॥ ९०॥ उदाहरणम् -पाधामाधनिधापापापा प ध नि धा मा मा धा नि सा सा स नि ध नि स धा नि सा नि धा सा धरि- मा मा धा नि नि धा पा पा प म म ध नि सा सा सनिनिसासासिनगरिमममागा रिसससधिनपा धा मा मा स - रि मा धा रि म पा पा । आभीरी। [१] भाविनी पञ्चमन्यासा गान्धारांशाल्पधैवता । मध्यपञ्चमयोर्यत्र गमनं दृश्यते घनम् ॥ मध्यम् भाषा तु भाविनी ज?्ञेया पूर्णा गान्धर्ववेदिभि ७०॥ ९१॥ उदाहरणम् -गामापागमपानिधा[पा]। गमपामागागारीरीगानीधापापापाप। मा मा गा मा पा पा मापापामाधारीसगगमापा मागारीरीपापा । भाविनी ।[२]