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

172 Treatment of Svara
Formation of mūrcchanā-s of the ṣaḍja-grāma
Method I (b)
Section 4 : Grāma, Mūrcchanā, Krama and Tāna
(iv) मूर्च्छना-भेदाः
चतुर्धा ताः पृथक् शुद्धाः काकलीकलितास्तथा ।
सान्तरास्तद्द्द्वयोपेताः षट्पञ्चाशदितीरिताः ॥१६॥
श्रुतिद्वयं चेत्षड्जस्य निषादः संश्रयेत्तदा ।
स काकली, मध्यमस्य गान्धारस्त्वन्तरः स्वरः ॥१७॥
(iv) The classification of the mūrcchanā-s : 16-17
These are fourfold, viz. śuddhā¹ (standard), kākalī-inclu-
sive², antara-inclusive³ and inclusive of both⁴; thus, they are
The mūrcchanā-s are classified on the basis of their being inclusive
or exclusive of either of the two notes called kākalī and antara or both of
them. First of all the author defines these two terms. He says, if
niṣāda absorbs two śruti-s of ṣaḍja and is thus established on the 24th
(22+2) or the 2nd śruti (of the next register), being in effect constituted
of four śruti-s, then it is called kākalī niṣāda and also merely as kākalī for
the sake of convenience. Similarly, if gāndhāra incorporates two śruti-s
of madhyama and is thereafter established on the 2nd śruti of madhyama,
being constituted in effect of four śruti-s, then it is called antara-gāndhāra
or merely as antara for the sake of convenience. Both these notes are
considered to be the modified forms of niṣāda and gāndhāra respectively
and are not counted as independent notes by themselves.
Now, he says there are four classes of mūrcchanā-s, viz. (i) those
that are composed exclusively of the standard notes, i. e. the śuddha-
svara-s, (ii) those incorporating kākalī-niṣāda, (iii) those incorporating

1. Śuddhā literally means pure or natural, the term is suggestive
   of the fact that the mūrcchanā-s of this type are composed of
   tones in the standard śruti-relation i. e., 4-3-2-4-4-3-2 or 4-7-
   9-13-17-20-22.
2. Kākalī-inclusive is the one that takes kākalī-niṣāda instead of
   śuddha-niṣāda, the śruti-relation being 4-7-9-13-17-20-2 (i. e.

24. taking 2 śruti-s from the ṣa of the next register.

3. Antara inclusive is that which takes antara-gāndhāra instead
   of śuddha-gāndhāra, the śruti-relation being 4-7-11-13-17-20-22.
4. The fourth type is such that it takes antara-gāndhāra and
   kākalī niṣāda instead of śuddha ga and ni; the śruti-relation
   being 4-7-11-13-17-20-2 (i e. 24).
   However, the śruti relations indicated here pertain to the
   ṣaḍja-grāma; in madhyama grāma pa will be on the 16th śruti
   instead of the 17th.
   Name of the mūrcchanā | 8 9 10 11 12 13 14 | 15 16 17 18 19 20 21
   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-ṣaḍjā | pa dha ni | sa ri ga ma
   Matsarīkṛtā | 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 (b)
   Formation of mūrcchanā-s of the ṣaḍja-grāma
   Method II
   Name of the mūrcchanā | Notes and their śruti-intervals
   Uttaramandrā : — sa — ri — ga — ma — pa — dha — ni
   4 3 2 4 4 3 2
   Rajanī : — ni — sa — ri — ga — ma — pa — dha —
   2 4 3 2 4 4 3
   Uttarāyatā : — dha — ni — sa — ri — ga — ma — pa
   3 2 4 3 2 4 4
   Śuddha-ṣaḍjā : — pa — dha — ni — sa — ri — ga — ma
   4 3 2 4 3 2 4
   Matsarīkṛt : — ma — pa — dha — ni — sa — ri — ga
   4 4 3 2 4 3 2
   Aśvakrāntā : — ga — ma — pa — dha — ni — sa — ri
   2 4 4 3 2 4 3
   Abhirudgatā : — ri — ga — ma — pa — dha — ni — sa
   3 2 4 4 3 2 4
   Chart 13 (c)
   These illustrations clearly make out the difference between the two
   methods of mūrcchanā-formation. The one (I) involves change of range
   and therefore requires the mattakokilā vīṇā and the other is done in the
   same register and involves tuning of the vīṇā according to the mūrcchanā-s.
   (14c-15)