Gauda giti is characterized by performance with shaken sounds, without pause, across three registers
"In performance with
shaken sounds, without pause, in the three registers, gauḍī gīti is said to
prevail."
<sup>1</sup>
TRANSLATION
<sup>105</sup>
[C. Gauda rāgas]
[Anu. <sup>186</sup>]
(Contention) Why are they known as gaudas? It is being answered, on
account of being related to gaudigiti. What is its description? It is being
answered. That is thus -
Oḥāṭi<sup>61</sup> born in the mandra (low svaras) is employed. In performance with
shaken sounds, without pause, in the three registers, gauḍī gīti is said to
prevail. *(First line of the verse reconstructed vide c.r. in Sudhā on SR II. 1.2-5).
(315)
[1. Gaudapañcama]
The description of gaudapañcama -
Dhaivatī and ṣadjamadhyamā operate in the formation of gauḍapañcama. It
has dhaivata as its aṁśa and madhyama as its concluding note; it is devoid of
pañcama.
(316)
[Anu. <sup>187</sup>]
This means - gaudapañcama is related to sadjagrāma on account of being
born of dhaivatī and şadjamadhyamā jātis. Dhaivata is the aniśa and graha.
Madhyama is the nyāsa. Niṣāda and gāndhāra are kākalī and antara. It is
hexatonic, being devoid of pañcama. Its application is prescribed in
passionate acting (or dance) and in vipralambha śringāra (love in separation).
Bībhatsa62 and bhayānaka are the rasas. The mūrchanā beginning with
dhaivata obtains. Ārohin is the varņa. Prasannamadhya is the alaṅkāra. The
kalāis formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and
the kalā prevails in the citra (mārga). A tāla like caccatpuța obtains in the songs
comprised of svara and pada.
[2. Gaudakaisika]
Gauḍakaiśika is known to be born of kaiśikī and ṣaḍjamadhyamā jātis. It is
said to have şadja as the aṁśa and pañcama as the nyāsa.
(317)