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

252 Treatment of Svara
5. प्रसादः
पूर्वः पूर्वः परस्योर्ध्वाधोवर्ती क्रियते स्वरः ॥३२॥
यदा तदा प्रसादं तमाह श्रीकरणेश्वरः ।
सरिस रिगरि गमग मपम पधप धनिध । (५)
6. व्यावृत्तः
चतुःस्वरा कला तत्राद्यात्तृतीयं द्वितीयकात् ॥३३॥
तुर्यं गत्वा ऽऽदिमं गच्छेदैवमेकैकहानतः ।
चतुःस्वराः परा यत्र स व्यावृत्तः स्मृतो बुधैः ॥३४॥
सगरिमस रिमगपरि गपमधग मधपनिम । (६)
pair), and an ascent is made in this way, it is said to be
prastāra, e. g. ‘sa-ga ri-ma ga-pa ma-dha pa-ni’. (31c-32b)
5. Prasāda
When every⁸ preceding tone precedes as well as follows
the next tone⁹, then it is prasāda as declared by Śrīkaraṇe-
śvara¹⁰, e.g. ‘sa-ri-sa ri-ga-ri ga-ma-ga ma-pa-ma pa-dha-pa
dha-ni-dha’. (32c-33b)
6. Vyāvṛtta
Where a phrase consisting of four tones proceeding
from the first to the third, and then from the second to the
fourth tone returns to the first¹¹ and is similarly followed by
other phrases of four tones dropping a tone¹², one by one¹³,
it is considered by the sages to be vyāvṛtta, e.g. ‘sa-ga-ri-ma-sa
ri-ma-ga-pa-ri ga-pa-ma-dha-ga ma-dha-pa-ni-ma’. (33c-34)
8. The preceding tone of every phrase.
9. The implication is that every phrase will have three tones
and the tone referred to as ‘the next’ will be the middle one.
10. Śārṅgadeva.
11. The tones are arranged in the order 1, 3, 2, 4, 1.
12. That is the second phrase will drop the first tone, the third
will drop the second and the fourth will drop the third tone.
13. That is, omitting one tone progressively.

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Section 6 : Varṇālaṅkāra 253
7. स्खलितः
कलां प्रयुज्य मन्द्रादेर्द्विरुक्तोर्ध्वस्वरान्विताम् ।
अवरोहेत चेदेष स्खलिताख्यस्तदा भवेत् ॥३५॥
सगरिममरिगस रिमगपपगमरि गपमधधमपग
मधपनि निपधम । (७)
8. परिवर्तकः
स्वरं द्वितीयमुज्झित्वा त्रिस्वरा ऽऽद्या कला यदि ।
त्यक्तादारभ्य तादृश्यो ऽन्यास्तदा परिवर्तकः ॥३६॥
सगम रिमप गपध मधनि । (८)
9. आक्षेपः
त्रिस्वराश्चेत्कलाः पूर्वपूर्वतPropsर्ध्वसंक्रमैः ।
तदा ऽऽक्षेपः
सरिग रिगम गमप मपध पधनि । (९)
7. Skhalita
Employing a phrase of mandrādi¹⁴ followed by the next
tone¹⁵ as used twice, if one descends¹⁶, then it is called
skhalita, e.g. ‘sa-ga-ri-ma-ma-ri-ga-sa, ri-ma-ga-pa-pa-ga-ma-ri,
ga-pa-ma-dha-dha-ma-pa-ga, ma-dha-pa-ni-ni-pa-dha-ma’. (35)
8. Parivartaka
If the first phrase consisting of three tones barring the
second one is followed by similar¹⁷ phrases starting with the
omitted¹⁸ tones, then it is parivartaka, e.g. sa-ga-ma ri-ma-pa
ga-pa-dha ma-dha-ni (36)
9. Ākṣepa
If the phrases of three tones progress in the ascending
order, dropping the first tone¹⁹ of the preceding phrase, then
14. That is, ‘sa-ga-ri’.
15. That is, ma after the first phrase.
16. Descends to the starting tone of the phrase.
17. Similarly dropping the second tone as counted from their
first tone.
18. That is, second from the first tone of the phrase.
19. This would naturally apply only to the subsequent phrases and
not to the first one.