takkarāga encompasses multiple bhāṣā varieties enumerated as sixteen distinct types
"These are the sixteen (bhāṣās) of ṭakkarāga spoken of by Yāṣṭika."
TRANSLATION
<sup>147</sup>
of takkarāga is well-known as kolāhalī, being sung by the knowledgeable ones
in music.
(56-57)
Illustration - Sāmāsāmā. Māmāgādhāmāgārisāsā. Dhāsāgāgārisāsā.
Mādhasāsā-rirīrigāgāmāmāgārī gādhāmārīsāsā. Dhārīsāsāmādharīmādharīrī
dhādhāgarīgāsāsāsāmāgārīsāsā gārīmāgārīsā dhādhāmāgārīsā. Kolāhalī [xiv]
The bhāṣā madhyamagrāmadehā<sup>21</sup> (madhyamagrāmikā) is known to be
always complete, has madhyama as aṁśa and sadja as the concluding note,
bears the concert between ṣaḍja and madhyama. This bhāṣā is always saṅkīrṇā
(mixed) and is placed in takkarāga.
(58)
Illustration - Mādhānī, Gādhānī, Sānīdhā, Māmāmādhānīmādhā
nīsāsāmādhānī. Mā. Dhānīnī. Dhāpāgārīgāsāsā. Gāsāsā. Nīnīsānī. Dhādhā.
Nidhāmāmāmādhānīdhāmāmā dhanīmādhānīsāsā. Madhyamadehā (xv)
Gāndhārapahācamī should be known to have dhaivata as aṁśa, sadja as the
concluding note, is embellished with the svara gandhara, has the combination
between ṣaḍja-madhyama, is complete and saṅkīrṇā (mixed), being sung by
the Nāgas<sup>22</sup> and Kinnaras.<sup>23</sup>
(59)
Illustration - Dhadhāpāpādhāmāmā. Dhāpāmāmā dhāpāmāgārī. Gāgā.
Dhāpamāgāsā. Sāmāsānīdhādhā. Mādhānīsāsā. Sāgāgasāgāgadharidhā
māmādhārīgāgāmādhāpāmāgāsā nidhānisāsāpāsā. Gāndhārapancami [xvi]
These are the sixteen (bhāṣās) of ṭakkarāga spoken of by Yāṣṭika.
(60)