त्रवणोद्भवा technical_term

: -- ¹⁰gd BRHADDEŚĪ ¹³⁸ परस्परं तु गमनं दृश्यतेऽत्र पुनः पुनः । स्यादियं षाडवा ज?्ञेया मूलाख्या त्रवणा^२१ भवेत् ॥३९॥ धा नि सा मा उदाहरणम् – मा सा सा सा सा नि धा नि धा नी 📉 धा गा सा सा । गा गा गा मा सा नि धा सा सा सा गामाधानीधाधामारी गारीरीमरिगासासानिधासासा । नी ध गा सा सा नि ध नि मा मा नि धा सा सा नि धा स ग मा गा सा नीधनीसा। त्रवणा । [१] त्रिपणा षड्ज?ा[-]ता मध्यमांशा या गान्धारबहुला सदा । पञ्चमेन विहीना तु ^२२बहुलौ धैवतर्षभौ ॥ मुहरी पड्जधैवतः सङ्कीर्णेयं सदा ज?्ञेया षाडवा त्रवणोद्भवा ॥४०॥ उदाहरणम् -मानीनीनीसास[1] । सारीरी रीगागागमामा मामारी । ग रि नि नि धा धा धा मा म गा रि गा । सामागारी । स नि नि गा गा निनिधासरिगारीमा । गा मा मा नी नी स सा । त्रवणोद्भवा । [२] त्रपणो॰ वेरञ्ज?िका तु विज?्ञेया २३गान्धारांशाल्पपञ्चमा । (ये?वे) षड्जन्यासा तु कर्तव्या, २४षड्जधैवतयोस्तथा ॥४१॥ गमनं सम्प्रयुज?्य तु गान्धारर्षभयोस्तथा । तु(?)गान्धारर्ष(भ) एवं भाषा तु विज?्ञेया षाडवा तु निगद्यते ॥४२॥ उदाहरणम् -गानिगागा ध रि मा मा गा मामागारीगाससासा निगारीनिनिधाधाधनिगारीमागारि - स नी ध नी । सा सा ग मा मा धा सा स ग नि गा नि गा नि ग धरीगरीरिगारिरीग मममधमममधरीगसासासा ৽বি৽ सनीगारीगा नि नि धा मा धा नि धा स नी गा रीममरिसा नि धा नि सा सा । वेरञ्ज?िका । [३] षड्ज?ाद्यन्तसमायुक्ता सम्पूर्णा मध्यमोज?्वला । षड्जमध्यमसंवादो द्विश्रुतीना परस्परम् ॥ मूलभाषा तु विज?्ञेया छेवाटी गेयवेदिभिः ^२५॥४३॥ मृक्र छोहारी

TRANSLATION ¹³⁹ Illustration - Māsāsāsā sānidhāni dhānī dhāgāsāsā. Dhānisāmā gāgāgāmā sānidhāsāsāsāsāgāmādhānīdhādhāmārīgārīrīmarigāsāsānidhāsāsā. Nidhagāsās- ānidhanimāmānidhāsāsā nidhāsagamāgāsā nīdhanīsā. Travaņā [i] That which has sadja as its concluding note, madhyama as its amsa, is always abundant in gāndhāra, is devoid of pañcama; dhaivata and ṛṣabha are profuse, (and) is always sankīrņā (mixed), this travaņodbhavā is hexatonic. (40) Illustration - Mānīnīnīsāsā. Sārīrīrīgāgāgamāmā māmārī. Garininidhā. Dhādhā-māmagārigā. Sāmāgarī. Saninigāgā ninidhāsarigārīmā, Gāmāmānī nīsasā. Travaņodbhavā [ii] Verañjikā should be known to have gandhāra as its aṁśa and weak pañcama. It should be performed with ṣaḍja as its nyāsa, bringing about the mutual movement of şadja-dhaivata and similarly gāndhāra-ṛṣabha. Thus should be known (this) bhāṣā; it is said to be hexatonic. (41-42) Illustration-Gānigāgā dharimāmāgā māmāgārigāsasāsā nigārīninidhādhādha- nigārīmāgārisanīdhāni. Sāsāgamāmādhāsāsaganigānigāniga dharīgarīrigārirīga ma-mamadhamamamadharīgasāsāsā sanīgārīgā ninidhāmādhānidhāsanigā rīmamarisā- nidhānisāsā. Verañjika [iii] Combined with sadja as the initial and concluding one (graha-nyāsa), complete, brilliant 15 with madhyama, there being the mutual concert (samvāda¹⁶) between sadja-madhyama and the (two) svaras comprised of two śrutis each (gāndhāra and niṣāda), chevāṭī should be known by the knowledgeable ones in music as mūlabhāṣā. (43)