Fundamental of Ancient Indian Music and Dance

Author(s): Sureshchandra Benarji
Publisher: L D Indology Ahmedabad

Page 32

Vocal Music
23
Nyāsa is the designation of the svara in which a Rāga culminates. In other words, it is the svara in which a rāga, being completed, rests or stops. In most cases, amśa svara or its samvā di svara becomes nyāsa. Varna, Alamkāra
The action of singing is called varņa. It is fourfold-sthāyi (constant), īrohi (ascending), avarohi (descending) and samcāri (promiscuous). The intermittent singing of the same svara is sthāyi; e.g. SA SA SA. Arohi takes place when the svaras are in an ascending order; e.g. SA RA GA. The reverse is Avarohi or descending; e.g. GA RA SA. In samcāri, there is promiscuity among the svaras whose regular order or its exact reverse is violated, e.g. SA GA RA.
A particular combination or mode of arrangement of varņas is called alamkāra. The purpose of alamkāras, which have a very large variety, is to convey knowledge about the precise nature and charm of svaras as well as to diversify the varna-combinations. Some of these alamkāras are prasannādi, prasannānta, prasannādyanta and prasannamadhya; all of these belong to sthāyi varņa. Prasanna is the name of mandra which has already been explained. Examples, Prasannādi :
SA SA SA Here the first two are mandra and the last one tāra indicated by the stroke above it. Prasannānta :
SA SA SA The first one is tāra followed by two mandras, Prasannādyanta :
SA SÅ SA The first and the last are mandra and the middle one tāra. Prasannamadhya:
SA SA SA Here the first and the last are tāra and the one intervening between them is mandra.
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