vesarikā technical_term

¹⁴³ TRANSLATION This saindhavī has madhyama as its aṁśa, ṣaḍja as its concluding note, is Gamāgāmāsādhāsārīmāmāmāsā Gārimāmāmā. Dhānisā. rigāmāpāpādhānipadhāpāmā gārīrīnirini dhādhādhanīsārīgāmāmāgāmāmā gāmāmāmāsāsā. Saindhavī [viii] brilliant with dhaivata, complete in svaras, the (mutual) movement 18 of şadja-dhaivata and gāndhāra-madhyama is seen to be dense. It is a regional bhāṣā bearing the name désī; saindhavī is,born of ṭakkarāga. (47-48) Illustration - Māmāsīsā. Sanīnīnīnīdhādhāsurisā nīdhādhādharinidhādhā. Combined with sadja as the initial and concluding note, being devoid of pañcama, this bhāṣā vesarikā, should be known to be hexatonic by the performers. The mutual movement of dhaivata-niṣāda and ṣaḍja-dhaivata is seen from moment to moment. (49-50) Illustration-Sāsā. Sadhāni. Dhāsāsāsā māmāgāmā gāmāsādhā māgārīsāsāsā. Vesarikā [ix] Having pañcama as amsa and şadja as the concluding note, being complete and delightful to the people, this bhāṣā is said to be pañcamākhyā. There is concert 19 between pañcama-ṛṣabha and similarly between ṣaḍja- madhyama (51) Mustration - Pāpāpāripā. Ripāpāpāpamāpāpāmapamā sāsāsarīrīri Nidhādhapāpā. Pasāmāmārirīgagarisapā pagārisāgārisāripāpāririgari. Gādhāmāgāriri dhaparigasāsā. Pañcamākhyā [x] Having middle and lower registers (as its range), şadja as its concluding note, gāndhāra as aṁśa and the seventh (niṣāda) as sparse, the bhāṣā, ravicandrikā, should be known to be sankīrņā (mixed). It should be so

¹⁴³ TRANSLATION This saindhavī has madhyama as its aṁśa, ṣaḍja as its concluding note, is Gamāgāmāsādhāsārīmāmāmāsā Gārimāmāmā. Dhānisā. rigāmāpāpādhānipadhāpāmā gārīrīnirini dhādhādhanīsārīgāmāmāgāmāmā gāmāmāmāsāsā. Saindhavī [viii] brilliant with dhaivata, complete in svaras, the (mutual) movement 18 of şadja-dhaivata and gāndhāra-madhyama is seen to be dense. It is a regional bhāṣā bearing the name désī; saindhavī is,born of ṭakkarāga. (47-48) Illustration - Māmāsīsā. Sanīnīnīnīdhādhāsurisā nīdhādhādharinidhādhā. Combined with sadja as the initial and concluding note, being devoid of pañcama, this bhāṣā vesarikā, should be known to be hexatonic by the performers. The mutual movement of dhaivata-niṣāda and ṣaḍja-dhaivata is seen from moment to moment. (49-50) Illustration-Sāsā. Sadhāni. Dhāsāsāsā māmāgāmā gāmāsādhā māgārīsāsāsā. Vesarikā [ix] Having pañcama as amsa and şadja as the concluding note, being complete and delightful to the people, this bhāṣā is said to be pañcamākhyā. There is concert 19 between pañcama-ṛṣabha and similarly between ṣaḍja- madhyama (51) Mustration - Pāpāpāripā. Ripāpāpāpamāpāpāmapamā sāsāsarīrīri Nidhādhapāpā. Pasāmāmārirīgagarisapā pagārisāgārisāripāpāririgari. Gādhāmāgāriri dhaparigasāsā. Pañcamākhyā [x] Having middle and lower registers (as its range), şadja as its concluding note, gāndhāra as aṁśa and the seventh (niṣāda) as sparse, the bhāṣā, ravicandrikā, should be known to be sankīrņā (mixed). It should be so

TRANSLATION ¹⁵⁹ [4. Bhāṣās in hindolaka] Combined with ṣaḍja as aṁśa and nyāsa, weak in dhaivata, this vesarī bhāṣā is formed with the (profuse) use of gandhara. The to and fro movement between şadja and gandhara should be arranged there by the performers. (83) Illustration Sāsāgāsāsanipāni.Mādhāmāgāsamāsāsāsā. Samagāsapamarigāsā ninimāsāgāsāsā. Dhanipāpāpanisāsā. Vesarī [i] Having pancama as aṁśa, şadja as the concluding note, being devoid of ṛṣabha and having concert between ṣaḍja-pañcama and the svaras comprised of two śrutiseach, this bhāṣā called prathamamañjarī is (based on ) hindolaka. (84) Illustration - Pāpāpāpādhamapānīsā pañcamapādhani dhāsāsāpāpānisāsāsā gāsāpāgāmānisanipāpānisā gānisānisāsā. Prathamamanjarī [ii] Combined with sadja as amsa and nyāsa, complete, weak in dha(dhaivata), thus has been described chevāțī and concert between șadja-madhyama and similarly şadja-gāndhāra should always be put up. (85) Illustration - Sāpāsā. Māgāsāsā gāmanimāpāmāsā sāmāmānīmāmāmā nīmāmāpāpāgāmāsāsāsāgāsānī. Sāgāsānīsanīdhāmadhāmāpāpāpādhāmāmādhama pamagarisā sānīnīnīsāgārīmāmārīnīsāsā. Chevāţī [iii] Having şadja às aṁśa and madhyama as concluding note, being weak in niṣāda and ṛṣabha (which are also perhaps omissible), there being concert between ṣaḍja-madhyama and similarly gāndhāra-pañcama, this bhāṣā, said to be şadjamadhyamā, should be known to be hexatonic and pentatonic by nature. It is sung also by Kinnaras.³³ (86-87)