prathamamañjarī technical_term

TRANSLATION ¹⁵⁹ [4. Bhāṣās in hindolaka] Combined with ṣaḍja as aṁśa and nyāsa, weak in dhaivata, this vesarī bhāṣā is formed with the (profuse) use of gandhara. The to and fro movement between şadja and gandhara should be arranged there by the performers. (83) Illustration Sāsāgāsāsanipāni.Mādhāmāgāsamāsāsāsā. Samagāsapamarigāsā ninimāsāgāsāsā. Dhanipāpāpanisāsā. Vesarī [i] Having pancama as aṁśa, şadja as the concluding note, being devoid of ṛṣabha and having concert between ṣaḍja-pañcama and the svaras comprised of two śrutiseach, this bhāṣā called prathamamañjarī is (based on ) hindolaka. (84) Illustration - Pāpāpāpādhamapānīsā pañcamapādhani dhāsāsāpāpānisāsāsā gāsāpāgāmānisanipāpānisā gānisānisāsā. Prathamamanjarī [ii] Combined with sadja as amsa and nyāsa, complete, weak in dha(dhaivata), thus has been described chevāțī and concert between șadja-madhyama and similarly şadja-gāndhāra should always be put up. (85) Illustration - Sāpāsā. Māgāsāsā gāmanimāpāmāsā sāmāmānīmāmāmā nīmāmāpāpāgāmāsāsāsāgāsānī. Sāgāsānīsanīdhāmadhāmāpāpāpādhāmāmādhama pamagarisā sānīnīnīsāgārīmāmārīnīsāsā. Chevāţī [iii] Having şadja às aṁśa and madhyama as concluding note, being weak in niṣāda and ṛṣabha (which are also perhaps omissible), there being concert between ṣaḍja-madhyama and similarly gāndhāra-pañcama, this bhāṣā, said to be şadjamadhyamā, should be known to be hexatonic and pentatonic by nature. It is sung also by Kinnaras.³³ (86-87)