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

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क्रमादृषभहीनानां तानानामभिधा इमाः ।
अश्वक्रान्तो रथक्रान्तो विष्णुक्रान्तस्ततः परः ॥७५॥
सूर्यक्रान्तो गजक्रान्तो वलभिन्नगपक्षतः ।
इति पञ्चमहीनानां संज्ञाः सप्त क्रमान्मताः ॥७६॥
चातुर्मास्यो ऽथ संस्थाऽऽख्यः शस्त्रश्चोक्थश्चतुर्थकः ।
सौत्रामणी तथा चित्रा सप्तमस्त्विदुद्भिदाह्वयः ॥७७॥
संज्ञा निषादहीनानां षाडवानामिमाः क्रमात् ।
(vii) The names of the combinational note-series : 72-90
(a) The hexatonic combinational note-series of the ṣaḍja-grāma : (72-78b)
Now, we give herewith the names of the combinational¹ note-series. (72ab)

1. The names of the seven note-series devoid of ṣaḍja respectively² are—agniṣṭoma³, atyagniṣṭoma, vājapeya, ṣoḍaśī, puṇḍarīka, aśvamedha and rājasūya. (72c-73b)
2. The names of the note-series devoid of ṛṣabha respectively are—sviṣṭakṛt, bahusuvarṇa, gosava, mahāvrata, viśvajit, brahmayajña and prajāpati. (73c-75b)
3. The seven names for (the note-series) omitting pañcama are respectively considered to be aśvakrānta, rathakrānta, viṣṇukrānta, sūryakrānta, gajakrānta, valabhit and nāgapakṣaka. (75c-76)
4. The names for the hexatonic (combinational note-series) eliminating niṣāda respectively are cāturmāsya, saṃsthā, śastra, uktha, sautrāmaṇī, citrā and udbhid. (77-78b)
   Having dealt with the permutational note-series in great detail, the author now incidentally proceeds to give the names of the significant combinational note-series with a view to refer to their merit.
   He takes only the hexatonic and the pentatonic note-series of both the grāma-s respectively, and first he gives the names of the hexatonic series and then the pentatonic series.

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1. Śuddha of the text.
2. That is in the order of mūrcchanā-series.
3. This and the following names pertain to vedic sacrifices. These names pertain to the note-series of the ṣaḍja-grāma.

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Section 4 : Grāma, Mūrcchanā, Krama and Tāna 225
2. मध्यमग्रामस्थषाडवशुद्धतानाः
सावित्रो चार्धसावित्री सर्वतोभद्रसंज्ञकः ॥७८॥
आदित्यानामयनञ्च गवामयननामकः ।
सर्पाणामयनः षष्ठः सप्तमः कौणपायनः ।
नामानि षड्जहीनानां तानानामिति मेनिरे ॥७९॥
अग्निचित् द्वादशाहश्चोपांशुः सोमाभिधस्ततः ।
अश्वप्रतिग्रहो वह्निरथाम्भ्युदयसंज्ञकः ॥८०॥
ऋषभेण विहीनानामिति नामानि मन्वते ।
सर्वस्वदक्षिणो दीक्षा सोमाख्यः समिदाह्वयः ॥८१॥
स्वाहाकारस्तनून्नपात्ततो गोदोहनो मतः ।
इति गान्धारहीनानां क्रमात्संज्ञाः प्रचक्षते ॥८२॥
(b) The hexatonic combinational note-series of the madhyama-grāma : (78c-82)
5. The names of the note-series¹ eliminating ṣaḍja are respectively known to be—sāvitrī, ardha-sāvitrī, sarvatobhadra, ādityāyana², gavāmayana³, sarpāyana⁴ and kauṇapāyana.⁵ (78c-79)

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1. The (specific) combinational note-series of the madhyama-grāma.
2. The expression ‘ādityānām ayanaḥ’ of the text has been rendered as ādityāyana for semantic considerations; but it needs an elaboration. Āditya has several meanings such as the sun, the dwarf incarnation of Viṣṇu, god in general, and so on. But since here the plural is used we may take it etymologically in the sense of ‘the sons of Aditi’ i. e., the gods. Ayana too has several connotations such as the path, the way, the passage of the sun, and abode etc. of which the last one seems to be appropriate in this context. So the expression as a whole would literally mean ‘the abode of gods’.
3. The expression gavāmayana similarly signifies ‘the abode of cows’.
4. Also the expression sarpāyana is a compound rendering of sarpāṇāmayana in the text which literally means the abode of serpents.
5. Kauṇapa literally means a goblin, a demon. So, kauṇapāyana literally signifies the abode of demons.
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