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

256 Treatment of Svara
14. प्रेङ्खः
कला गतागतवती द्विस्वरैरेकैकहानतः ॥४१॥
यत्रान्यास्तादृशः स स्यात्प्रेङ्खः,
सरिरिस रिगगरि गममग मपपम पधधप ध निनिध । (१४)
15. निष्कूजितः
, निष्कूजितः पुनः ।
प्रसादस्य कलां गीत्वा तत्कलाऽऽद्येस्तुतीयकम् ॥४२॥
गत्वा ऽऽद्यगानाद्भवति,
सरिसगस रिगरिमरि गमगपग मपमधम पधपनिप । (१५)
16. श्येनः
, श्येनः संवादि युग्मकैः ॥४३॥
क्रमात्सरिगमाद्यैः स्यात्,
सप रिध गनि मस । (१६)
14. Preṅkha
Where the phrases move forward and then backward²⁸
by two tones with the subsequent²⁹ phrases forming them-
selves similarly by dropping a tone by and by³⁰ successively,
it becomes preṅkha, e.g. ‘sa-ri-ri-sa ri-ga-ga-ri ga-ma-ma-ga
ma-pa-pa-ma pa-dha-dha-pa dha-ni-ni-dha.’ (41c-42b)
15. Niṣkūjita
Having sung a phrase of prasāda³¹, and proceeding to
the third (tone) from the initial (tone), if the initial is sung,
it becomes niṣkūjita, e.g. ‘sa-ri-sa-ga-sa ri-ga-ri-ma-ri ga-ma-ga-
pa-ga ma-pa-ma-dha-ma pa-dha-pa-ni-pa’. (42b-43a)
16. Śyena
Śyena is (formed) by the consonant³² pairs³³ beginning
respectively with sa, ri, ga and ma, e.g. ‘sa-pa ri-dha ga-ni
ma-sa’. (43b-44a)³⁴
28. In the order of ascent and descent.
29. The phrases following the first tone.
30. Dropping the initial note of the preceding phrase.
31. Phrases of prasāda may be seen vide verse No. 33 ante and
embellishment No. 5 in this series.
32. The consonance in this case consists in the interval of thirteen
śruti-s, known as the ṣaḍja-pañcama relation.
33. Pairs of tones.
34. Verse 43 consists of one line only.

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Section 6 : Varṇālaṅkāra 257
17. क्रमः
, कला द्वित्रिचतुःस्वराः ।
आद्यस्वराद्यास्तिस्रः स्युर्द्वितीयाद्यादयस्तथा ॥४४॥
यत्रासौ क्रम इत्युक्तः,
सरिसरिगसरिगम रिगरिगमरिगमप गमगमपगमपध
मपमपधमपधनि । (१७)
18. उद्घट्टितः
, स तूद्घट्टित उच्यते ।
यत्र स्वरद्वयं गीत्वा पञ्चमाच्चतुरः स्वरान् ॥४५॥
अवरोहेत्कला गायेत्तथैकैकोज्झनात्पराः ।
सरिपमगरि रिगधपमग गमनिधपम । (१८)
17. Krama
(The embellishment) in which there are three phrases
consisting of two, three and four tones respectively commen-
cing with the initial³⁵ tone and three (similar) phrases
commencing with the second tone and so on³⁶, is called krama,
e.g. ‘sa-ri-sa-ri-ga-sa-ri-ga-ma, ri-ga-ri-ga-ma-ri-ga-ma-pa, ga-
ma·ga, ma-pa-ga-ma-pa-dha, ma-pa-ma-pa-dha-ma-pa-dha-ni.’
(44b-45a)
18. Udghaṭṭita
Where (in a phrase) after singing two tones,³⁷ one
descends four tones from the fifth³⁸ and sings the subsequent
phrase (similarly) by dropping one³⁹ tone in each case, it is
said to be udghaṭṭita, e.g. ‘sa-ri-pa-ma-ga-ri, ri-ga-dha-pa-
ma-ga-ga-ma-ni-dha-pa-ma’. (44b-46b)
35. The first tone of the mūrcchanā.
36. Added to these two will be the three phrases commencing with
the third tone and the three phrases commencing with the
fourth tone.
37. Beginning with the first tone of the mūrcchanā.
38. Fifth as counted from the initial tone of a phrase.
39. The initial tone of the preceding phrase.
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