Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.154

c6.154

(2) “Vibhāsā rāga-rājasya pañcamasya varātikā.|| 23 || Dhāṃśā sadja-graha-nyāsa dha-tārā mandra-madhyamā| Sama-śleṣa-svarā-pūrṇā śṛngāre yāstikoditā.|| 24 || ing itself to the system of thirty-six melodies, *Rāgārṇava*, accepts the following six as the generic melodies : Bhairava, Pañcama, Naṭa, Mallāra, Gauḍa-Mālava, and Deśākha. The list is somewhat nearer to the one given in *Saṅgīta-makaranda*,¹ with the peculiar difference that Megha, Śrī-rāga and Vasanta are replaced by Mallāra, Gauḍa-Mālava, and Deśākha as major melodies. The derivative rāgas ascribed to the major rāgas are, however, quite different from those given in the *Saṅgīta-makaranda* as will appear from the scheme set out in Appendix 4. It should be noted that these derivative melodies are designated as *rāgas* and not yet as *rāgiṇīs*. The new names of derivative melodies offered are Sālaga (? Sālaṅka), Triguṇā, Dhānī, Haripāla, and Dhoraṇi.