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विधिष्चतुष्कलो ज्ञेयः प्रागुक्ताङ्गुलिभिः कृतः । द्विकलश्चतुष्कलश्च पादभागः प्रकीर्तितः ॥ ५१॥
The proper method (of playing) with the previously mentioned fingers is to be known as consisting of four kalās; Two-kalā and four-kalā divisions are referred to as the quarter portion (pāda-bhāga).
english translation
चत्वारः पादभागाश्च ?? हि परिनाट्यते । चञ्चत्पुटस्य तालस्य तथा चञ्चूपुटस्य च ॥ ५२॥
The four pāda-bhāgas are indeed applied in the case of a cancatpuṭa tāla as well as in a cancūpuṭa tāla.
english translation
पञ्चबाणैश्च विज्ञेया भेदा ह्येते पृथक्पृथक् । एवमेष मया तालः समासात्परिकीर्तितः ॥ ५३॥
The varieties of these (tālas) should be understood as distinguished by the five Bāṇas. Thus, the tāla has been described by me in a summarized form.
english translation
आसारिते वर्धमाने गीतेष्वपि हि यः स्मृतः । अथासारितकानां तु सम्प्रवक्ष्यामि लक्षणम् ॥ ५४॥
In the Āsārita and Vardhamāna songs also, that (Tāla) is considered applicable. Now I shall explain the characteristics of the non-Āsārita types.
english translation
भेदश्चञ्चत्पुटस्यादौ तथा गुरुलघुप्लुतैः । पञ्चपाणिं ततः कुर्याद्द्विरभ्यस्तं प्रयोगवित् ॥ ५५॥
At the beginning, the variation of the Cañcatpuṭa is made using heavy, light, and prolonged syllables; then, the expert in application should perform the Pañcapāṇi, repeating it twice.
english translation