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

248 Treatment of Svara
8. सन्धिप्रच्छादनः
त्रिस्वरा ऽऽद्या कला ऽन्ये च पूर्वपूर्वान्तिमादिमे ।
कले स्तस्त्रिस्वरे यत्र सन्धिप्रच्छादनस्तु सः ॥२३॥
सरिग गमप पधनि । (८)
9. उद्गीतः
यदा ऽऽद्याद्यस्त्रिरावृत्तः कलयोस्त्रिस्वरात्मनोः ।
तदोद्गीतः,
सससरिग मममपध । (९)
10. उद्वहितः
,मध्यमेन तादृशोद्वाहितो मतः ॥२४॥
सरिरिरिग मपपपध । (१०)
pair with the preceding one⁸, it is called ākṣipta, e. g. 'sa-ga
ga-pa pa-ni'. (22)
(8) Sandhipracchādana
Where the first phrase (kalā) consists of three tones and
the other two have the last tone of their preceding phrase as
their first in a group of three tones, it is (called) sandhipracchā-
dana, e. g. 'sa-ri-ga ga-ma-pa pa-dha-ni'. (23)
(9-12) Udgīta, udvāhita, trivarṇa and pṛthagveṇī
When in two phrases of three tones each, the first tone is
repeated thrice, it is udgīta, e. g. 'sa-sa-sa-ri-ga ma-ma-ma-pa-
dha' (9) and in that, if the middle tone is repeated similarly,
it is considered to be udvāhita, e.g. 'sa-ri-ri-ri-ga ma-pa-pa-pa-
dha' (10). If, however, the last (third) tone⁹ is repeated, it is
described as trivarṇa, e.g. 'sa-ri-ga-ga-ga, ma-pa-dha-dha-dha'
(10)
8. That is, for example in the second pair the succeeding tone
after dropping the 4th tone is pa which is prefixed by the
3rd ga.
9. Of each phrase.

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Section 6 : Varṇālaṅkāra 249
11. त्रिवर्णः
अन्त्यस्य तु त्रिरावृत्तौ त्रिवर्णं वर्णयन्त्यमुम् ।
सरिगगग मपधधध । (११)
12. पृथग्वेणिः
त्रयाणां तु त्रिरावृत्तौ पृथग्वेणिरुदीरितः ॥२५॥
ससस रिरिरि गगग, ममम पपप धधध । (१२)
(च) अवरोहिवर्णगतालंकाराः
अवरोहक्रमादेते द्वादशाप्यवरोहिणि ।
(छ) सञ्चारिवर्णगतालंकारोद्देशः
मन्द्रादिर्मन्द्रमध्यश्च मन्द्रान्तः स्यादतः परम् ॥२६॥
प्रस्तारश्च प्रसादोऽथ व्यावृत्तस्खलितावपि ।
परिवर्तक्षेपबिन्दूद्वाहितोर्मिसमास्तथा ॥२७॥
If, however, the last (third) tone⁹ is repeated it is described as
trivarṇa, e. g. sa-ri-ga-ga-ga, ma-pa-dha-dha-dha. (11) But, if
all the three tones¹⁰ are repeated thrice (in the above pattern),
it is called pṛthagveṇī,¹¹ e. g. 'sa-sa-sa ri-ri-ri ga-ga-ga ma-
ma-ma pa-pa-pa dha-dha-dha' (12). (24-25)
(f) The embellishments of the descendant tone-pattern :
26ab
These very twelve in their descending order are known
as descendant embellishments.¹² (26ab)
(g) The embellishments of the circulatory (sañcārī) tone-
pattern: 26c-53
The twentyfive embellishments based on the circulatory
tone-pattern (sañcārī varṇa) are named as follows : mandrādi,
mandramadhya as followed by mandrānta; prastāra, prasāda and
10. Of each phrase.
11. Cf. verse 15 ante where it is called veṇī, and S. Raj. Vol. I
2.1.3. 58-59 and K. R. 103 who follow suit. However, it is
notable that 'S' calls it pṛthagveṇī.
12. That is, the ascendant embellishments as described above
when ordered in the descendant movement.