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यथा- ऋन्दुं जगति अवलिकदिगिविगितितिऋलऋचकुलतिति जगतिति वा । उपोह्यन्ते स्वरा यत्र येन गीतं प्रवर्तते । तमादुपोहनं प्रोक्तं शुष्काक्षरसमन्वितम् ॥ १३१॥
For example: ṛnduṁ jagati avalikadi-givigiti-ṛla-ṛcakulatiti jagatiti, etc. The notes are sung wherever the song is performed according to this pattern. This is called the Upohana, consisting of unmeaning (dry) syllables.
english translation
अथवा मोह्यते यस्मात्प्रयोगसूचनादिभिः । तमादुपोहनं ह्येतज्जानभा(ता)ण्डसमाश्रयम् ॥ १३२॥
Or, because it is carried forward by means of indications of performance and other cues, this too is called the Upohana, dependent on musical instruments.
english translation
शम्या तालौ द्विरभ्यस्तौ सन्निपातान्त्य एव च । उपोहनं विशालायास्तालोऽयं परिकीर्तितः ॥ १३३॥
The Tāla of the Upohana in Viśālā consists of two Śamyā beats followed by a Tāla, ending with a Sannipāta. This is how the Upohana of Viśālā is prescribed.
english translation
द्विकलः सङ्गतायाश्च तालश्चञ्चूपुटः स्मृतः । त्रिकलो युक्ततालादि सुनन्दायास्तथैव च ॥ १३४॥
The double Āsārita of Saṃgatā is set to the Cañcupuṭaḥ Tāla. The triple Āsārita, along with its associated Tāla, is similarly prescribed for Sunandā.
english translation
चञ्चत्पुटस्तु द्विकलः सुमुख्याः स्यादुपोहने । उपोहने द्विरभ्यस्तैस्ततः कार्या तु कण्डिका ॥ १३५॥
The double Āsārita of Sumukhī is to be performed in the Cañcatpuṭaḥ Tāla during the Upohana. When the Upohana is repeated twice in this manner, it constitutes the Kaṇḍikā.
english translation