gāndhārodīcyavā jati

TRANSLATION ⁷ "The jātis are born as śuddhā and vikṛtā through samavāya (commingling of the svaras assuming the functions of graha, aṁśa, nyāsa etc.). Further there are other eleven (jātis) that have been made 'impure', i.e. have only a vikṛtā state."7 (NŚ XXVIII.46) Out of these (jātis) I shall describe briefly here in sequence the jātis that are formulated or accomplished through ainsa svaras, omission (of one or two notes) and the like. (192) Ṣaḍja-madhyamā (is born) on account of the blending of ṣadjā and madhyamā; ṣaḍjakaiśikī is born of ṣaḍjā and gāndhārī; ṣaḍjodīcyavatī comes into being from the above two (ṣaḍjā and gāndhārī) with the addition of dhaivatī; gāndhārodīcyavā comes into existence from these (ṣaḍjā, gāndhārī and dhaivatī) with the addition of madhyamā; madhyamodīcyavā arises out of the blending of gāndhārī, madhyamā, pañcamī and dhaivatī; raktagāndhārī arises from these (gāndhārī, madhyamā and pañcamī) when naiṣādī is the fourth one; āndhrī is born of the blending of ārṣabhī and gāndhārī alone; nandayantī arises out of these two (ārṣabhī and gāndhārī) with the addition of pañcami; these (three) go to make kārmāravī, with the omission of gāndhāri and the addition of niṣādā; gāndhāra-pañcamī arises out of gāndhārī and pañcami alone; all the seven jātis go to make kaisiki excepting ārṣabhī and dhaivati, thus are the blendings or mixtures. (193-198) Now they (honorific for the author) have spoken of the classification (of jātis) – Four jātis should be known by the wise to be always composed of seven svaras, four are composed of six svaras and the other ten are known as being composed of five svaras each. (199) This itself becomes clear - Madhyamodicyavā and similarly şadja-kaišikī, kārmāravī and similarly gåndhåra-pañcami – these are complete, i.e. no svara is omitted in them. (200)

E. ²⁷ TRANSLATION In gāndhārī, the two (svaras) that are not amśas viz. ṛṣabha, dhaivata are always to be omitted respectively (for making ṣāḍava and auḍava forms). Şadja and pañcama are to be known as the two apanyāsas. One should move from dhaivata to ṛṣabha. In raktagāndhārī, almost everything is like this (gãndhārī), but madhyama is apanyāsa. Dhaivata and niṣāda have to be accorded abundant usage. Sañcāra (to and fro movement) is to be rendered in this (jāti) between ṣaḍja and gāndhāra by the performers. (222-224) Gāndhārodīcyavā is mostly similar to şadjodīcyavatī. Şadja and madhyama are the two amsas and the auduvita (pentatonic) form is not desirable in it. (225) In madhyamā there are five amśas, excepting the two svaras composed of two śrutis each (viz. gāndhāra-niṣāda). These two are omitted for (forming the ṣāḍava and auḍuva) varieties respectively i.e. ṣāḍava is formed by omitting gåndhåra and auduva by omitting gåndhåra-niṣāda. Şadja and madhyama are abundant. (226) Madhyamodīcyavā is like gāndhārodīcyavā. It is always made of seven svaras; pañcama is amsa in it. (227) In pañcamī, ṛṣabha and pañcama have been said by the gurus to be aniśas. These two alongwith niṣāda are apanyāsa and there is the sangati (concert) between madhyama and ṛṣabha. Ṣaḍja, madhyama and gāndhāra are sparse.