सङ्गीतरत्नाकर: प्रथम भाग (शार्ङ्गदेव - स्वरगताध्याय सविस्तार व्याख्या व अनुवाद सहित)

246 Treatment of Śvara
त्रिश्‍चतुर्वा स्वरोच्चारे गात्रवर्णमिमं विदुः ॥१७॥
ससस रिरिरि गगग ममम धधध निनिनि ।
सससस रिरिरिरि गगगग मममम पपपप धधधध निनिनिनि । (२)
निष्कर्षस्यैव भेदौ द्वौ केचिदेतौ बभाषिरे ।
3. बिन्दुः
प्लुतं ह्रस्वं प्लुतं ह्रस्वं प्लुतं ह्रस्वं प्लुतं स्वरम् ॥१८॥
कुर्वन्क्रमाद्यदा ऽऽरोहेत्तदा बिन्दुरयं मतः ।
स३रि ग३म प३ध नि३ । (३)
4. अभ्युच्चयः
एकान्तरस्वरारोहमाहुरभ्युच्चयं बुधाः ॥१९॥
सगपनि । (४)
dha-dha ni-ni’. If however, each note is pronounced thrice
or four times, it³ is known as gātravarnam, e. g. ‘sa-sa-sa ri-ri-ri
ga-ga-ga ma-ma-ma pa-pa-pa dha-dha-dha ni-ni-ni, sa-sa-sa-
sa ri-ri-ri-ri ga-ga-ga-ga ma-ma-ma-ma pa-pa-pa-pa dha-
dha-dha-dha ni-ni-ni-ni’. These two forms, according to
some are said to be the two varieties of niṣkarṣa. (17-18)
(3) Bindu
If the ascending tones are employed in the order of
prolonged (pluta), short (hrasva), prolonged, short, prolonged,
short and prolonged, then, it is considered to be bindu e. g.
‘sa3ri ga3ma pa3dha ni3.’ (18c-19b)
(4) Abhyuccaya
An ascendant tonal movement dropping alternative
tones is called abhyuccaya by the sages, e. g. ‘sa ga pa ni’.
(19cd)
3. It refers to the pattern of niṣkarṣa.
Section 6 : Varṇālaṅkāra 247
5. हसितः
यत्रैकोत्तरवृद्धाभिरावृत्तिभिरुदीरिताः ।
आरुह्यन्ते स्वराः प्राहु हसितं तं शिवप्रियः ॥२०॥
स रिरि गगग मममम पपपपप धधधधधध निनिनिनिनिनिनि । (५)
6. प्रेङ्खितः
स्वरद्वयं समुच्चार्य पूर्वं पूर्वयुतं परम् ।
यदान्दोलितमारोहेत्प्रेङ्खितो ऽसौ क्रमो ऽथ वा ॥२१॥
सरि रिग गम मप पध धनि । (६)
7. आक्षिप्तः
एकान्तरं स्वरयुगं तादृक्पूर्वयुतं परम् ।
क्रमादारोहति यदा तदा ऽऽक्षिप्तं प्रचक्षते ॥२२॥
सग गप पनि । (७)
(5) Hasita
Wherein the tones ascend, augmented successively by an
increased repetition⁴, it is called hasita by the devotee of Śiva⁵
e. g. ‘sa ri-ri ga-ga-ga ma-ma-ma-ma pa-pa-pa-pa-pa dha-dha
dha-dha-dha-dha ni-ni-ni-ni-ni-ni-ni’. (20)
(6) Preṅkhita
Having sung first two tones to begin with, if one ascends
with a swing by taking the succeeding tone as preceded by
the previous tone⁶, it is called preṅkhita or krama e. g. ‘sa-ri
ri-ga ga-ma ma-pa pa-dha dha-ni’. (21)
(7) Ākṣipta
If one ascends in successive order by a pair of tones
dropping one tone in-between⁷ and initiating the succeeding
4. That is, each successive tone will have one more repetition, as
compared to the preceding one.
5. Śārṅgadeva is the devotee of Śiva.
6. That is, in order to take the third tone one should first take
the 2nd and then the 3rd immediately followed by it.
7. That is, to form the first pair the second tone in-between the
first and the third is dropped and in the second pair the
fourth is dropped in-between the 3rd and the 5th.