aniyama technical_term

¹⁹ TRANSLATION " (A structure with) six svaras is ṣāḍava that is fourteenfold, with forty-seven varieties. The said regulation (number 47) is according to the varieties of aṁśa svara (in fourteen jātis)." (NŚ XXVIII, p. ⁴⁹) [6. The definition of auduva] ----- "(A structure of) five svaras should be known as audavita, it is tenfold³² according to those knowledgeable in prayoga (performance). It is prescribed to have thirty varieties and its definition is as has been said before." (NŚ XXVIII.76) [Anu. ¹²⁷] (The structure) beginning with the group of four svaras is deśī,33 not mārga. That is used in (the music of people known as) 34 śabara, pulinda, kāmboja, baṅga, kirāta, bāhlīka, āndhra, draviḍa, vana (forest-dwellers) etc. On account of lack of regulation (aniyama)35 śruti (?) alone should be understood here. When there is the usage of four svaras, then it is said to be svarāntara 36; this should be known in avakṛṣṭā dhruvās alone and we shall explain this within the treatment of dhruvā. Similarly has said Bharata - "There is the use of six svaras and similarly of five svaras. Here (in drama) there is also the use of four svaras in the avakṛṣṭā dhruvās."37 (NŚ XXVIII.77) By the word 'api' (in the above verse) meaning 'also', the complete (structure) should also be understood. Thus should be known the fourfold usage of dhruvās (viz. complete, hexatonic, pentatonic, quadratonic).