gaudakaiśika rāga

relation

p.vol_II_p062

sanskrit

conf 0.95

Gaudakaiśika rāga is born of kaiśikī and şadjamadhyamā jātis

"gaudakaiśiko rago madhyamagrāmasambandhaḥ kaiśikoṣaḍjamādhyamābhyā jātaḥ"

BRHADDEŚĪ 106 [अनु॰ १८८] अस्यार्थः - गौडकैशिको रागो मध्यमग्रामसम्बन्धः कैशिकोषड्जमध्यमाभ्या ज?ातः रा(मो?गो) षड्ज?ोऽस्य ग्रहोंऽशश्च। पञ्चमो न्यासः। निषादोऽत्र काकली। पूर्णश्चायम्। तथा प्रयोगोऽस्ति६४। त्रिश्रुतिकत्वात् पञ्चमस्य,चतुःश्रुतिकत्वाद् धैवतस्य, मध्यमग्रामसम्बन्ध एवासौ रागः । यद्यपि ग्रामद्वयजातौ ज?ातः, तथापि मध्यमोऽस्य ग्रामः, न षड्ज?:६५ । तथा दर्शनात् । करुणे चास्य पद्ज?ी मध्यमः विनियोगः । वीरादिको रसः। षड्ज?ादिमूर्छना। आरोही वर्णः। प्रसन्नादिरलङ्कारः। दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादितालः । [३.गौडकैशिकमध्यमः] ६६षड्ज?ांशो मध्यमन्यासः षड्जमध्यमया कृतः । ॰मध्यम(वा?या) परिपूर्णस्वरः प्रोक्तो गौडकैशिकमध्यमः ॥ ३१८॥ [अन्॰ १८९] अस्यार्थः - गौडकैशिकमध्यमः षड्जग्रामसम्बन्धः षड्जमध्यमाज?ातेर्ज?ातत्वात् । षड्ज?ोऽस्य प(इज)मध्यमाज?ाते(त?)र्ज?ातत्वात् ग्रहोंऽशश्च । मध्यमो न्यासः । निषादोऽत्र काकली । पूर्णश्चायम् । भयानके चास्य विनियोगः । वीरादिको रसः। षड्ज?ादिमूर्छना। आरोही वर्णः। प्रसन्नमध्योऽलङ्कारः। दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादितालः । [गौडरागाणा ग्रामविभागः] इदानी गौडाना ग्रामविभागमाह - गौडपञ्चमकः षड्ज? गौडकैशिकमध्यमः। ॰पञ्चं(ग?क): गौडकैशिकरागस्तु मध्यमग्रामसंश्रयः॥ त्रयो गौडाः समाख्याता रागान् वक्ष्याम्यतः परम् ॥ ३१९॥

relation

p.vol_II_p062

sanskrit

conf 0.98

[show source]

Gaudakaiśika rāga is related to madhyamagrāma

"gaudakaiśiko rago madhyamagrāmasambandhaḥ"

BRHADDEŚĪ 106 [अनु॰ १८८] अस्यार्थः - गौडकैशिको रागो मध्यमग्रामसम्बन्धः कैशिकोषड्जमध्यमाभ्या ज?ातः रा(मो?गो) षड्ज?ोऽस्य ग्रहोंऽशश्च। पञ्चमो न्यासः। निषादोऽत्र काकली। पूर्णश्चायम्। तथा प्रयोगोऽस्ति६४। त्रिश्रुतिकत्वात् पञ्चमस्य,चतुःश्रुतिकत्वाद् धैवतस्य, मध्यमग्रामसम्बन्ध एवासौ रागः । यद्यपि ग्रामद्वयजातौ ज?ातः, तथापि मध्यमोऽस्य ग्रामः, न षड्ज?:६५ । तथा दर्शनात् । करुणे चास्य पद्ज?ी मध्यमः विनियोगः । वीरादिको रसः। षड्ज?ादिमूर्छना। आरोही वर्णः। प्रसन्नादिरलङ्कारः। दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादितालः । [३.गौडकैशिकमध्यमः] ६६षड्ज?ांशो मध्यमन्यासः षड्जमध्यमया कृतः । ॰मध्यम(वा?या) परिपूर्णस्वरः प्रोक्तो गौडकैशिकमध्यमः ॥ ३१८॥ [अन्॰ १८९] अस्यार्थः - गौडकैशिकमध्यमः षड्जग्रामसम्बन्धः षड्जमध्यमाज?ातेर्ज?ातत्वात् । षड्ज?ोऽस्य प(इज)मध्यमाज?ाते(त?)र्ज?ातत्वात् ग्रहोंऽशश्च । मध्यमो न्यासः । निषादोऽत्र काकली । पूर्णश्चायम् । भयानके चास्य विनियोगः । वीरादिको रसः। षड्ज?ादिमूर्छना। आरोही वर्णः। प्रसन्नमध्योऽलङ्कारः। दक्षिणे कला, वार्तिके कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादितालः । [गौडरागाणा ग्रामविभागः] इदानी गौडाना ग्रामविभागमाह - गौडपञ्चमकः षड्ज? गौडकैशिकमध्यमः। ॰पञ्चं(ग?क): गौडकैशिकरागस्तु मध्यमग्रामसंश्रयः॥ त्रयो गौडाः समाख्याता रागान् वक्ष्याम्यतः परम् ॥ ३१९॥

structural

p.vol_II_p062

english

conf 0.97

[show source]

Şadja is the graha and aṁśa of gaudakaiśika rāga

"Şadja is its graha and aṁśa."

TRANSLATION 107 [Anu. 188] This means-gaudakaiśika rāga is related to madhyamagrāma and is born of kaiśikī and şadjamadhyamā. Şadja is its graha and aṁśa. Pañcama is nyāsa. Niṣāda is kākalī here. This (rāga) is complete. Such is its performance. On account of pañcama being comprised of three śrutis, dhaivata being comprised of four śrutis, this rāga is related to madhyamagrāma alone. Although it is born of the jātis of two grāmas, yet its grāma is madhyama, not ṣaḍja, because it is seen as such. Its application is prescribed in karuna (rasa). Vīra63 and the like is the rasa. The mūrchanā beginning with ṣaḍja obtains. Ārohin is the varņa, prasannādi is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatputa obtains in the songs comprised of svara and pada. [3. Gaudakaisikamadhyama] Gaudakaisikamadhyama is said to have şadja as its amsa, madhyama as its nyāsa and to be formed by ṣaḍjamadhyamā (jāti) and to have complete svaras. (318) [Anu. 189] This means – gaudakaišikamadhyama is related to şadjagrāma, on account of being born of şadjamadhyamā jāti. Şadja is its graha and aṁśa. Madhyama is the nyāsa. Niṣāda is kākalī here and this (rāga) is complete. Its application is prescribed in bhayānaka (rasa). Vīra and the like is the rasa. The mūrchanā beginning with sadja obtains. Arohin is the varna. Prasannamadhya is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara and pada. [The assignment of gaudaragas to gramas] Now he (the author) has spoken of the assignment of gauda (ragas) to grāmas- Gaudapañcama is in ṣaḍja (grāma) and so is gaudakaiśikamadhyama. Gaudakaisika, on the other hand, is based on madhyamagrāma. The three gauda (rāgas) have been dealt with. After this, I will speak of rāgas (pertaining to vesarā gīti). (319)

structural

p.vol_II_p062

english

conf 0.97

[show source]

Pañcama is the nyāsa of gaudakaiśika rāga

"Pañcama is nyāsa."

TRANSLATION 107 [Anu. 188] This means-gaudakaiśika rāga is related to madhyamagrāma and is born of kaiśikī and şadjamadhyamā. Şadja is its graha and aṁśa. Pañcama is nyāsa. Niṣāda is kākalī here. This (rāga) is complete. Such is its performance. On account of pañcama being comprised of three śrutis, dhaivata being comprised of four śrutis, this rāga is related to madhyamagrāma alone. Although it is born of the jātis of two grāmas, yet its grāma is madhyama, not ṣaḍja, because it is seen as such. Its application is prescribed in karuna (rasa). Vīra63 and the like is the rasa. The mūrchanā beginning with ṣaḍja obtains. Ārohin is the varņa, prasannādi is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatputa obtains in the songs comprised of svara and pada. [3. Gaudakaisikamadhyama] Gaudakaisikamadhyama is said to have şadja as its amsa, madhyama as its nyāsa and to be formed by ṣaḍjamadhyamā (jāti) and to have complete svaras. (318) [Anu. 189] This means – gaudakaišikamadhyama is related to şadjagrāma, on account of being born of şadjamadhyamā jāti. Şadja is its graha and aṁśa. Madhyama is the nyāsa. Niṣāda is kākalī here and this (rāga) is complete. Its application is prescribed in bhayānaka (rasa). Vīra and the like is the rasa. The mūrchanā beginning with sadja obtains. Arohin is the varna. Prasannamadhya is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara and pada. [The assignment of gaudaragas to gramas] Now he (the author) has spoken of the assignment of gauda (ragas) to grāmas- Gaudapañcama is in ṣaḍja (grāma) and so is gaudakaiśikamadhyama. Gaudakaisika, on the other hand, is based on madhyamagrāma. The three gauda (rāgas) have been dealt with. After this, I will speak of rāgas (pertaining to vesarā gīti). (319)

structural

p.vol_II_p062

english

conf 0.96

[show source]

Niṣāda functions as kākalī in gaudakaiśika rāga

"Niṣāda is kākalī here."

TRANSLATION 107 [Anu. 188] This means-gaudakaiśika rāga is related to madhyamagrāma and is born of kaiśikī and şadjamadhyamā. Şadja is its graha and aṁśa. Pañcama is nyāsa. Niṣāda is kākalī here. This (rāga) is complete. Such is its performance. On account of pañcama being comprised of three śrutis, dhaivata being comprised of four śrutis, this rāga is related to madhyamagrāma alone. Although it is born of the jātis of two grāmas, yet its grāma is madhyama, not ṣaḍja, because it is seen as such. Its application is prescribed in karuna (rasa). Vīra63 and the like is the rasa. The mūrchanā beginning with ṣaḍja obtains. Ārohin is the varņa, prasannādi is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatputa obtains in the songs comprised of svara and pada. [3. Gaudakaisikamadhyama] Gaudakaisikamadhyama is said to have şadja as its amsa, madhyama as its nyāsa and to be formed by ṣaḍjamadhyamā (jāti) and to have complete svaras. (318) [Anu. 189] This means – gaudakaišikamadhyama is related to şadjagrāma, on account of being born of şadjamadhyamā jāti. Şadja is its graha and aṁśa. Madhyama is the nyāsa. Niṣāda is kākalī here and this (rāga) is complete. Its application is prescribed in bhayānaka (rasa). Vīra and the like is the rasa. The mūrchanā beginning with sadja obtains. Arohin is the varna. Prasannamadhya is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara and pada. [The assignment of gaudaragas to gramas] Now he (the author) has spoken of the assignment of gauda (ragas) to grāmas- Gaudapañcama is in ṣaḍja (grāma) and so is gaudakaiśikamadhyama. Gaudakaisika, on the other hand, is based on madhyamagrāma. The three gauda (rāgas) have been dealt with. After this, I will speak of rāgas (pertaining to vesarā gīti). (319)

structural

p.vol_II_p062

english

conf 0.95

[show source]

Gaudakaiśika rāga is complete with all svaras

"This (rāga) is complete."

TRANSLATION 107 [Anu. 188] This means-gaudakaiśika rāga is related to madhyamagrāma and is born of kaiśikī and şadjamadhyamā. Şadja is its graha and aṁśa. Pañcama is nyāsa. Niṣāda is kākalī here. This (rāga) is complete. Such is its performance. On account of pañcama being comprised of three śrutis, dhaivata being comprised of four śrutis, this rāga is related to madhyamagrāma alone. Although it is born of the jātis of two grāmas, yet its grāma is madhyama, not ṣaḍja, because it is seen as such. Its application is prescribed in karuna (rasa). Vīra63 and the like is the rasa. The mūrchanā beginning with ṣaḍja obtains. Ārohin is the varņa, prasannādi is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatputa obtains in the songs comprised of svara and pada. [3. Gaudakaisikamadhyama] Gaudakaisikamadhyama is said to have şadja as its amsa, madhyama as its nyāsa and to be formed by ṣaḍjamadhyamā (jāti) and to have complete svaras. (318) [Anu. 189] This means – gaudakaišikamadhyama is related to şadjagrāma, on account of being born of şadjamadhyamā jāti. Şadja is its graha and aṁśa. Madhyama is the nyāsa. Niṣāda is kākalī here and this (rāga) is complete. Its application is prescribed in bhayānaka (rasa). Vīra and the like is the rasa. The mūrchanā beginning with sadja obtains. Arohin is the varna. Prasannamadhya is the alaṅkāra. The kalā is formed in the dakṣiṇa (mārga), the kalā obtains in the vṛtti (mārga) and the kalā prevails in the citra (mārga). A tāla like caccatpuṭa obtains in the songs comprised of svara and pada. [The assignment of gaudaragas to gramas] Now he (the author) has spoken of the assignment of gauda (ragas) to grāmas- Gaudapañcama is in ṣaḍja (grāma) and so is gaudakaiśikamadhyama. Gaudakaisika, on the other hand, is based on madhyamagrāma. The three gauda (rāgas) have been dealt with. After this, I will speak of rāgas (pertaining to vesarā gīti). (319)

gaudakaiśika rāga technical_term

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Affirmations (6)