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A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c3.s2: (3) Gouri

A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c3.s2

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(3) Gouri

c3.s2.1

एवं सति च गांधारी द्वे श्रुती मध्यमस्य चेत्।
गृहति काकली नि-स्यात्तदा गौरी प्रर्वतते॥

c3.s2.2

Translation — If in the last mentioned Todi Thata, the note gandhara takes two srutis of maddhyama, and the note nishada becomes Kakali, the resulting Thata will be Gouri

c3.s2.3

Observation — The Gouri Thata of the ancient writers is universally admitted to correspond with our modern Bhairava Thata. Here again we have further proof to show that the Shuddha Thata of Lochana was our Kafi (4) KARNAT.

c3.s2.4

शुद्धाः सप्त स्वरास्तेषु गान्धारो मध्यमस्य चेत् । गृह्ाति द्वे श्रुती गीता कर्णाटी जायते तदा ॥

c3.s2.5

Translation.—If you take the shuddha swara scale of seven notes and raise gandhara therein by two srutis, the resulting Thata will be Karnat.

c3.s2.6

Observation.—The Karnat Thata will be the modern Khamaj Thata of our Hindusthani system in which all notes except the nishada are shuddha.

c3.s2.7

(5) KEDARA.

c3.s2.8

एवं सति निपादश्चेत् काकली भवतिस्फुटम् । वीणायां व्यक्तिमाधत्त केदारसंस्थितस्तदा ॥

c3.s2.9

Translation.—If in the Karnat scale, the nishada becomes Kakali the vina will produce the Thata known as Kedara.

c3.s2.10

Observation.—The Kedara Thata of the Tarangani will correspond with our modern Bilawal scale.

c3.s2.11

(6) IMAN.

c3.s2.12

एवं सति च संस्थाने मध्यमः पंचमस्य चेत् । गृह्ाति द्वे श्रुती राग ईमनो जायते तदा ॥

c3.s2.13

Translation.—If in the last mentioned Kedara Thata the madhyama takes two srutis of panchama, the resulting Thata will be Iman.

c3.s2.14

Observation.—This is exactly our modern Yaman Thata of the Hindusthani system. The only difference is that the modern Hindusthani musician uses the swara names tivra 'ga' tivra 'ni' and tivra 'ma' in place of Lochana's Tivratara 'ga' tivratara 'ni' and tivratara 'ma'.

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