Soundarya Lahari--Verse 69

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Gale rekhAs tisro gati-gamaka-git'aika nipune

vivAha-vyAnaddha-praguna-guna-samkhyA-pratibhuvah;

virAjante nAnA-vidha-madhure-rAgAkara-bhuvAm

trayAnAm grAnAnAm sthiti-niyama-sImAna iva te.

 

O unique demonstrator of procedure, undulations and song! on Thy neck

shine forth three lines, as though denoting the number of strings

made of twisted threads auspiciously tied [round the neck] during

[Thy] marriage forming as it were the boundaries demarcating the

positions of the three GrAma-s, which constitute the treasure-mine of

the various kinds of melodious modes of music.

 

Procedure- differentiated as MArga and Desi, according to the science

of music, the former is the original type known as the Brahma-gitA,

adopted when music came into vogue, while the latter represents the

types adopted in the different Desa-s or parts of the county.

Undulations-due to variations in the modulations. song-words set to

music, ie musical compositions. GrAma-s- musical scales, known as

sadja0, Madhyama- and GAndhAra-grAma-s, according as they commence

from Sadha-, Madhyama- and GAndhAra-svara-s. The last GrAma is not in

vogue in our world, while the second is recognized by some old

writers to have been in vogue in their days. It is now, however,

recognised nowadays by modern exponents, such as ventatamakhin.

Evidently all the three are known to celestial music. KaivalyAsrama

makes mention of the PaNcama-grAma in the place of the GAndhAragrAma.

 

 

 

 

Yantra image in : SS homepage.

 

http://www.shaktisadhana.org/Newhomepage/sadhana/Commentaries.html

 

The Saundarya-Lahari of Sri Samkara-Bhagavatpada.

By Pandit S. Subrahmanya Sastri and T.R Srinivasa Ayyangar.