विकलोपनीतविनताश्रीराख्यो भार्गवप्रियः
The Vikalopa, brought forth and humbled, called Śrīrākha, is dear to Bhārgava.
ससौवीरां सुसोवीरा ब्रह्मणो ह्यपगीयते
The Sasauvīrā and Susovīrā are sung in praise of Brahmā.
हरिदेशसमुत्पन्ना हरिणस्याव्यजायत
Born in the region of Hari, it was produced by Hari.
करोपनीता विवृतावनुद्रिः स्वरमण्डले
Brought forth by the hand, revealed, unobstructed, in the realm of sound.
मनुदेशाः समुत्पन्ना मूर्च्छनाशुद्धमात्मना
The regions of Manu arose, with modulation, pure in their essence.
सावश्रमसमाद्युम्ना अनेकापौरुषानखान्
With the same ashrama and equal vigor, possessing many human and non-human qualities.
तानि उत्तर मद्रांसपद्गदैवतकं विदुः
These are known as the northern Madra, the Padgadaivata.
तमोदुत्तरमैद्रोयदेवतास्याद्रुवेन च
The Tamoduttara, the Maidroya deity, and also the Syādru.
स्यादिजमूर्छनाह्येच पितरः श्राद्धदेवताः
The origin of modulation is indeed the Pitṛs, the deities of the Śrāddha.
उपैति तस्मान्नजानी याच्छुद्धयच्छिकरासभा
It approaches, but one does not know; those pure, those with sharp cries, and those resembling asses.
पक्षिणां मूर्छनाः श्रुत्वा पक्षोका मूर्छनाः स्मृताः
Having heard the modulations of birds, the modulations of wings are remembered.
नानासाधारमश्चैववडवात्रिविदस्तथा
There are various bases, and likewise the Vaḍavā and Trivida.
इति श्रीब्रह्माण्डे महापुराणे वायुप्रोक्ते मध्यमाभागे तृतीय उपोद्धातपादे गान्धर्वमूर्छनालक्षणवर्णनं नामैकषष्टितमो ऽध्यायः
Thus, in the glorious Brahmāṇḍa Mahāpurāṇa, spoken by Vāyu, in the middle section, in the third Upoddhāta division, is the sixty-first chapter, named 'Description of the Characteristics of the Gāndharva Modulations.'
विख्यातान्वै अलङ्कारांस्तन्मे निगदतः श्रुणु
Renowned ornaments—now hear them as I declare.
संस्था नयोगैश्च तथा सदा नाढ्याद्यवेक्षया
Arrangement is always determined by methods of composition and by examination of channels and the like.
पदानि गीतकस्याहुः पुरस्तात्पृष्ठतो ऽथ वा
They say the steps of a song are placed before, behind, or otherwise.
एतेषु त्रिषु स्थानेषु प्रवृत्तो विधिरुत्तमः
In these three positions, the highest procedure is established.
विकल्पमष्टधा चैव देवाः षोडशधा विदुः
The gods know the variation as eightfold, and also as sixteenfold.
आरोहणं चतुर्थं तु वर्णं वर्मविदो विदुः
Those skilled in musical armor know the fourth ascent as a note.
अवरोहणवर्णानामवरोहं विनिर्दिशेत्
One should specify the descent among the descending notes.
एतेषामेव वर्णानामलङ्कारन्निबोधत
Now learn the ornamentation of these very notes.
प्रमादस्याप्रमादश्च तेषां वक्ष्यामि लक्षणम्
I will describe the characteristics of error and non-error among them.
आवर्त्तस्याक्रमो त्वाक्षी वेकार्यां परिमाणतः
The sequence of repetition is determined by the measure in the performance.
एष वै एष चैवस्यकुतरेकः कुलाधिकः
This indeed, and also that, is a single superior lineage.
तस्मिंश्चैव स्वरे वृद्धिर्निष्टप्ते तद्विचक्षणः
And in that very note, growth occurs when it is firmly established, as the expert knows.
प्रमाणघसबिन्दुर्ना जायते विदुरे पुनः
A measure, a heavy dot, does not arise again in the distance.
विपर्ययस्य रोपिस्या द्यस्य प्रादुर्घटी मम
For reversal, the planting and manifestation of the beat occurs for me.
अक्षेपस्कन्दनाकार्यं काकस्योयचपुष्कलम्
The act of displacement and skipping is the scattered fragment of the crow.
आक्षिप्तमवरोह्यासीत्प्रोक्षमद्यस्तथैव च
Displaced descending should be considered as sprinkling and intoxication likewise.
प्रेशोल्लिखितमलङ्कारमेवस्वरसमन्विता
The ornamentation is only that which is sent forth and inscribed, accompanied by notes.