Śrīmad-Bhāgavatam 10.33.5
Blended reading (Sanskrit + English inline)
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sa-priyāṇām
—
who were with their beloved
Sa (with) + priya (beloved). Priya is Kṛṣṇa's standing name in Vraja — He is the priya, the gopīs are priyā. Mādhurya-rasa lives in this pair of words.
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rāsa-maṇḍale
—
in the circle of the rāsa dance
Locative of rāsa-maṇḍala. Sound itself becomes location: where the tumult of ornaments is, there is the maṇḍala. Gauḍīyas: the rāsa-maṇḍala is not a place but a configuration of rasa.
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tumulaḥ
—
tumultuous
From √tum (to swell, throng). The same word Mahābhārata uses for battle-roar — here the swell is of bhakti, not war. The grammar of intensity is shared; only the object differs.
The bangles, ankle bells and waist bells of the those women with Krsna (sa priyanam) made a great sound. Ca indicates that musical instruments such as various types of drums also were played. However, indicating them only by ca means that they were not the principal instruments, and did not cover the sound of the gopis’ornaments.
Having described the festival produced by the devatās, the instruments and singing suitable for the rāsa dance are described. First the sounds from the gopīs’ ornaments are described. The bells were on the belts and other accessories of the gopīs. The word yośitām suggests that it was natural for these ornaments and sounds since they were women. The sound arose from the women each of whom had Kṛṣṇa with them (sapriyānām). That sound arose in the circle they formed for the rāsa dance.
Bangles, anklets, waist-bells — each ornament was made for stillness but speaks only in motion. So too the soul: its faculties are silent until set in motion by association with Bhagavān, and then every limb becomes an instrument of His glory.
My note
Source: vedabase.io