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

210 Treatment of Svara
the other.⁸ Let no. 1 be written in the first⁴ square of the
first⁵ series among them and let there be zero in the other
squares. Pebbles⁶, corresponding to the number of tones in
the note-series⁷ in question, may be placed in those very
squares.⁸ (63c-64)
The figures filled in the squares of the graph have been worked
out and are based on the permutational calculus of the permutational
note-series as demonstrated earlier; for example, it was observed in the
case of the tetratonic series that the twenty-four note-series were clearly
divided into four groups distinguishable from each other on the basis of
the notes sa ri ga ma being placed into the fourth position respectively in
groups of six note-series. Similarly, the monotone series forms a group
by itself, the bitone series forms two groups, so to say i. e., sa-ri and ri-sa.
The tritone series forms three groups viz.,
sa ri ga sa ga ri ri ga sa
ri sa ga ga sa ri ga ri sa
These note-series are formed into three groups where each note
remains in the third position twice. Rest of the notes, it may inciden-
tally be observed, are placed first in their ascending order and then
in their descending order. Similarly, the pentatonic series has five
groups in each of which one particular note viz., pa in the 'sa ri ga ma
pa' series remains in the fifth position, in the fifth group. This is done
sixth will have two, and the seventh only one, as counted from
top to bottom.
3. This order will form into vertical columns of squares disting-
uished from top to bottom and not from bottom to top.
4. The first square, as counted from left to right in the series
of squares drawn on the paper.
5. The first series is the one that has seven squares and is on the
top of the graph.
6. Pebbles are movable objects and are therefore instrumental in
the working process of the graph called khaṇḍameru. The graph
can also be utilised even without using the pebbles, by mark-
ing the squares appropriately. But the system of pebbles
adopted here has the advantage of leaving the graph unaffect-
ed and thus rendering it usable for any number of times.
However, if the squares of the graph are marked instead of
using the pebbles, it could be used only once. Thus, the
movable pebbles make the graph durable.
7. Vedya-tāna is the note-series the tonal form of which has to be
ascertained. However, the type of the series, such as mono-
tone, bitone, tritone, etc. is given, and therefore the pebbles
are to be placed in the squares in accordance with the number
of tones constituting the particular note-series.
8. That is, in the squares of the first series of seven squares,
commencing from the first.

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Section 4 : Grāma, Mūrcchanā, Krama and Tāna 211
Let the sum total of the numbers of the last squares⁹
of the antecedent¹⁰ series be written below the zero in the
subsequent series progressively in the respective squares¹¹,
e. g., one (in the first instance); while in the squares below
that¹² in vertical order, let the sum be multiplied by the
from right to left to keep the notes in the ascending order in the first
instance. So also the hexatonics have six groups and the heptatonic or
complete note-series have seven groups.
Now, the seven squares of the first horizontal series of the permu-
tation-indicator represent the seven notes written from left to right,
while the squares taken in their vertical order represent the number of
groups of note-series in their permutational calculus; e. g., the first
column has one square, for the monotone series has only one group; and
similarly, the second column has two squares, for the bitone series has two
groups of note-series. Again the third column has three squares, and so
on with the seventh having seven squares representing its seven groups.
This group indication is useful for solving the problems called naṣṭa and
uddiṣṭa as will be explained presently.
Now, it will be easier to see how the different figures have been
filled into the different squares of the indicator graph and what their
significance is. The first column square represents the monotone series
and has figure one written in it. In other words, in the first squares
of the remaining six vertical columns (from top to bottom) is placed zero
since the number of groups does not become manifest at the very outset
as in the monotone series; e. g., in the bitone series the two groups sa ri
and ri sa become groups only when they are two i. e, they are relative.
The rest of the figures of the graph are arrived at in the following
procedure.
The rule given in the text is that in the series of squares following
or placed one below the other, one may write the total of the figure
indicated in the last squares of the preceding series below the zero given
in the overhead squares. That is to say that, if only one series of
9. The last squares of the series as counted from right to left.
10. Antecedent one or more than one series i. e, all the preceding
series.
11. 'Ūrdhvādhaḥ-sthita-paṅktiṣu' is quite significant and points out the
squares placed one below the other in the series of vertical
columns, below the zero of the respective columns.
12. 'That' refers to the square in which the sum of the numbers of
the last squares of the series formed till then is given.