सङ्गीतरत्नाकर: प्रथम भाग (शार्ङ्गदेव - स्वरगताध्याय सविस्तार व्याख्या व अनुवाद सहित)

170 Treatment of Svara
अधस्तनैर्निषादाद्यैः षडन्या मूर्च्छनाः क्रमात् ।
मध्यममध्यमारभ्य सौवीरी मूर्च्छना भवेत् ॥१३॥
षडन्यास्तदधोधःस्थस्वरानारभ्य तु क्रमात् ।
षड्जस्थानस्थितैरन्याँ रजन्याद्याः परे विदुः ॥१४॥
हारिणाश्वादिका गान्धैर्मध्यमस्थानसंस्थितैः ।
षड्जादीन्मध्यमादींश्च तदूर्ध्वं सारयेत्क्रमात् ॥१५॥
the middle register; and the six other mūrcchanā-s with niṣāda
etc. (placed) one below another in regular order. Sauvīrī
commences with the madhyama of the middle register, and
the six others³ with the notes coming one below another in
successive order. (12b-14b)
According to another version, rajanī etc.⁴ are formed
by niṣāda etc.⁵ that are placed on ṣaḍja⁶ and hāriṇāśvā etc.⁷
Mūrcchanā-s of the two grāma-s

Ṣaḍja-grāma		Madhyama-grāma
No. Name	Tonal form	No. Name	Tonal form
1. Uttaramandrā	sa ri ga ma pa dha ni	1. Sauvīrī	ma pa dha ni sa ri ga
2. Rajanī	ni sa ri ga ma pa dha	2. Hāriṇāśvā	ga ma pa dha ni sa ri
3. Uttarāyatā	dha ni sa ri ga ma pa	3. Kalopanatā	ri ga ma pa dha ni sa
4. Śuddha-ṣaḍja	pa dha ni sa ri ga ma	4. Śuddha-madhyā*	sa ri ga ma pa dha ni
5. Matsarīkṛtā	ma pa dha ni sa ri ga	5. Mārgī*	ni sa ri ga ma pa dha
6. Aśvakrāntā	ga ma pa dha ni sa ri	6. Pauravī*	dha ni sa ri ga ma pa
7. Abhirudgatā	ri ga ma pa dha ni sa	7. Hṛṣyakā*	pa dha ni sa ri ga ma
(Chart 12)

• The tonal form of śuddha-madhyā, mārgī, pauravī and hṛṣyakā
  may appear to be identical with that of uttaramandrā, rajanī, uttarāyatā
  and śuddha-ṣaḍja respectively, due to the same tones employed; but

3. That is, other mūrcchanā-s.
4. That is, from rañjanī, uttarāyatā etc. onwards upto abhirudgatā.
5. That is, ni dha pa backwards upto ri.
6. Ṣaḍja of the middle register.
7. That is, from hāriṇāśva, kalopanatā onwards upto hṛṣyakā.

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Section 4 : Grama, Mūrcchanā, Krama and Tāna 171
are formed by gāndhāra etc.⁸ that are placed on madhyama;
the subsequent notes ṣaḍja etc.⁹ and madhyama etc.¹⁰ respecti-
vely may be tuned accordingly. (14c-15)
actually it is not so, because the pañcama of the madhyama-grāma is of
three śruti-s, whereas in the ṣaḍja-grāma it has four; therefore, these
mūrcchanā-s, though similar in appearance, are yet different in content.
Signs . and ˈ (not used here) are respectively indicative of the lower
and the higher register. (12b-14b)
Then the author describes the same phenomenon of the formation
of mūrcchanā-s in quite a different way. The phenomenon remains the
same, only the technique of relating it differs.
As already explained in the previous verse, by the first method
the mūrcchanā-s are formed by placing their initial notes one below the
other. This involves a change of range (sthāna) in the same vīṇā which
has to be mattakokilā, that is provided with 21 strings and has the range
of three registers (cf. Ab. Bh., G. O. S. Vol. IV, p. 122). By this method
the mūrcchanā-s can be worked out as under, either in the range of the
lower and the middle registers, or the middle or the higher registers.
While in the second method explained above, the mūrcchanā-s are
obtained in the same register, but every time the strings have to be
tuned accordingly. Chart 13 (a & b) illustrates the first method and
Chart 13 (c) illustrates the second.
Formation of mūrcchanā-s of the ṣaḍja-grāma
Method I (a)

Name of the mūrcchanā	1	2	3	4	5	6	7	8	9	10	11	12	13	14
Uttaramandrā								sa	ri	ga	ma	pa	dha	ni
Rajanī							ni	sa	ri	ga	ma	pa	dha
Uttarāyatā						dha	ni	sa	ri	ga	ma	pa
Śuddha-ṣaḍja					pa	dha	ni	sa	ri	ga	ma
Matsarīkṛt				ma	pa	dha	ni	sa	ri	ga
Aśvakrāntā			ga	ma	pa	dha	ni	sa	ri
Abhirudgatā		ri	ga	ma	pa	dha	ni	sa
Chart 13 (a)

8. That is, from ga ri backwards upto pa.
9. That is, ṣaḍja and the higher notes.
10. That is, madhyama and the higher notes.