R_15_bhasa_definition

Body (pseudocode)

Inputs / output

Evidence (3)

• p. vol_II_p074 · #865 « arranged in a grāma-rāga in each case. »
• p. vol_II_p085 · #1006 « This bhāṣā should be known by the knowledgeable ones in music as being complete »
• p. vol_II_p101 · #1187 « One should use the bhāṣā having pañcama as aṁśa and ṣaḍja as the concluding note, in takka. »

Other rules on this concept (2)

• R_15_bhasa_classification classification Bhāṣās are classified four-fold: mūlā (basic), saṅkīrṇā (mixed), deśajā (regional), chāyāmātrāśrayā
• R_073_bhasas_derivation derivation Bhāṣās are melodic varieties born from grāma-rāgas; total bhāṣās + vibhāṣās = 73

Other rules in category definition

• R_006_nyasa_definition · nyāsa · Nyāsa is the svara on which a gīta (tonal structure) is placed, left, or conclud
• R_4p0_001 · vibhāṣā · vibhāṣā = variante/sous-categorie de bhāṣā derivee d'un rāga, avec varietes
• R_c17_apanyasa · apanyāsa · apanyāsa = svara de cadence intermédiaire (avant fin), interne aux vidārīs, jama
• R_027_auduvita_definition · auduvita · Auduvita is the pentatonic form devoid of ṛṣabha and dhaivata, formed only with
• R_36_amsa_definition · aṁśa · Aṁśa is the predominant/primary svara of a rāga or bhāṣā, the beginning point of
• R_prastara_def · prastāra · Prastāra is the systematic permutation/extension of svaras, increasing by one sv
• R_4p0_004 · bindu · bindu = (a) alaṅkāra: sejour long sur svara, touche tāra-sa bref, retour bas; (b
• R_c39_murchana_devanagari · मूर्छना · mūrchanā = mouvement mélodique débutant par un svara donné, étymologie mūrch (in