bhinnakaiśika_vs_śuddhakaiśika_distinction

relation · concept: bhinnakaiśika · 4 attestation(s) · confidence 0.95

Bhinnakaiśika is distinguished from śuddhakaiśika: ālāpa avoids śuddha's svasthāna and is performed in lower registers vs. tāra in śuddhakaiśika; sung in bhinnā gīti vs śuddhā.

Body (pseudocode)

if R=bhinnakaiśika: alapa_svasthana != suddhakaiśika.svasthana AND register=mandra AND giti=bhinnā; else if R=śuddhakaiśika: register=tāra AND giti=śuddhā

Inputs / output

raga —

→ contrast

Evidence (4)

p. vol_II_p059 · #672 « ālāpa has to be done with the same svaras (here), leaving that svasthāna »
p. vol_II_p059 · #673 « In śuddhakaiśika, ālāpa should be done with tāra (high) svaras »
p. vol_II_p059 · #680 « Śuddhakaiśika is sung in the śuddhā gīti, whereas bhinnakaísika is sung in the bhinnā gīti. »
p. vol_II_p059 · #681 « the rāga is not elaborated with the same svasthāna in bhinnakaisika. »

Other rules on this concept (4)

bhinnakaiśika_rasa_application assignment Bhinnakaiśika is applied in dānavīra (heroic charity) contexts and uses vīra, raudra and similar ras
bhinnakaiśika_structure structural Bhinnakaiśika has ṣaḍja as graha and aṁśa, pañcama as nyāsa, is complete in seven svaras with abunda
bhinnakaiśika_origin_madhyamagrama derivation Bhinnakaiśika is born of kaiśikī and kārmāravī jātis and is therefore related to madhyamagrāma.
bhinnakaiśika_pancama_substitution transformation In bhinnakaiśika, the three-śruti pañcama is omitted in ṣaḍjagrāma, taking instead the four-śruti fo

bhinnakaiśika_vs_śuddhakaiśika_distinction

Body (pseudocode)

Inputs / output

Evidence (4)

Other rules on this concept (4)

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