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

174 Treatment of Svara
known to be fiftysix in all. If niṣāda takes two śruti-s of ṣaḍja,
it becomes kākalī⁵, but if gāndhāra appropriates two śruti-s of
madhyama it becomes antara⁶. (16-17)
antara gāndhāra and (iv) those incorporating both kākalī and antara.
Each of the two grāma-s has seven mūrcchanā-s, so both have fourteen;
and then, each of the fourteen is of four types described above. Thus
(14×4=56), altogether we get fiftysix mūrcchanā-s. The four types of
the mūrcchanā-s of the ṣaḍja-grāma are illustrated as under, along with
their śruti-relations.
The four types of mūrcchanā-s

Name of the type	sa	ri	ga	ma	pa	dha	ni	Remarks
1. Śuddhā<br>(standard)	4	7	9	13	17	20	22
2. Sakākalī<br>(kākalī-inclusive)	4	7	9	13	17	20	*2 or 24	*2 śruti-s from the next register
3. Sāntarā<br>(antara-inclusive)	4	7	11	13	17	20	22
4. Ubhayagatā<br>(inclusive of both)	4	7	11	13	17	20	*2 or 24	* —do—
(Chart 14)
This illustrates the varieties of the first mūrcchanā only.

5. The short form of kākalī-niṣāda.
6. The short form of antara gāndhāra.
   Section 4 : Grāma, Mūrcchanā, Krama and ...
   (v) मूर्च्छनासङ्ख्या-परिज्ञानोपायः
   यस्यां यावतियो षड्जमध्यमौ ग्रामयोः क्रमात् ।
   मूर्च्छना तावतित्येव सा निःशङ्केन कीर्तिता ॥१८॥
   (v) The method of indicating the serial number of a
   mūrcchanā : 18
   In the two grāma-s the serial number of a mūrcchanā, as
   pointed out by Śārṅgadeva¹, is that which corresponds to the
   position of ṣaḍja or madhyama in it². (18)
   This is rather a very faithful rendering of the text which in fact
   implies that, since there are fourteen mūrcchanā-s in the two grāma-s,
   seven in each, the question is how to recognise a particular mūrcchanā in
   terms of its being first, second, third, and so on. The author here
   points out that the serial number of a mūrcchanā is indicated by the
   position of ṣaḍja or madhyama in it in the ṣaḍja or madhyama grāma as the
   case may be. For instance, in uttaramandrā a mūrcchanā of the ṣaḍja-
   grāma 'sa ri ga ma pa dha ni' the position of the sa is first, and there-
   fore it indicates that uttaramandrā is the first mūrcchanā of the ṣaḍja-grāma.
   Similarly ṣaḍja being the sixth note in avakrāntā, it indicates it to be
   the sixth mūrcchanā. Also in the case of madhyama-grāma, hāriṇāśva for
   instance has madhyama in the second position (ga ma pa dha ni sa ri)
   and is thereby the second mūrcchanā of the madhyama-grāma.
   (vi) मूर्च्छना-क्रमाः, तेषां सङ्ख्या च
   प्रथमादिस्वरारम्भादेकैका सप्तधा भवेत् ।
   तासुच्चार्यान्त्यस्वरांतान्पूर्वानुच्चारयेत्क्रमात् ॥१९½॥
   ते क्रमास्तेषु संख्या स्याद् द्वानवत्या शतत्रयम् ।
   (vi) The mūrcchanā-series (krama-s) and their number: 19-20b.
   Each one of them¹ becomes sevenfold by commencing
   with the first note and so on². In these³, the last notes hav-
   ing been sung, initial notes may be sung in their respective
7. Niḥśaṅka is the appelation of Śārṅgadeva.
   2, Cf. Dattilam 21.
8. 'Them' refers to the fiftysix mūrcchanā-s of four types described
   in verse 16.
9. That is, from the first to the seventh note.
   3.&4. 'These' refers to the seven mūrcchanā-series, formed as per